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Preisdatenbank abonnierenRolling Stones, a World Tour poster for the 'Licks Tour' 2002/03 with three signatures: Keith Richards, Ronnie Wood and Charlie Watts, the vendor is the company Robertson Taylor who insured the concert, framed and glazed 100cm x 48cm. This lot is being sold on behalf of the charity Nordoff Robbins Music Therapy
Music Posters, eleven posters of various sizes and conditions including The Who - Marquee Club mini poster (some damage) and The Eagles 'The Long Run' (excellent condition)The Who poster may be one from Live at Leeds album. Unable to determine if first printOther promo posters ; Face Dances- The Who, Stones - Still Life, Desmond Dekker, James Bond - Greatest Hiots, Grateful Dead - In the dark, Eagles - Long Run Zappa -Tinsel Town
7th-6th century BC. A bronze helmet of the Corinthian type, with curvilinear eye holes that taper to a point, wide nose guard, broad cheek pieces that leave a vertical opening for the mouth, curved projection to the nape of the neck; a border that has been drilled with holes to secure an interior lining, holes to the top for attachment of crest. For similar examples see the Olympia Archaeological Museum, Greece, inventory numbers B7977, B6127, B2603; cf. Born, H. Die Helme des Hephaistos: Handwerk und Technik Griechisher Bronzen in Olympia, Munich, 2009, for discussion.1.14 kg, 26.5cm (10 1/2"). Property of a London, UK collector; acquired London market, 1990s. Accompanied by X-Ray Fluorescence metal analysis certificate number 00933-2018GH. Extremely widespread in the seventh and sixth century BC, the Corinthian helmet provided maximum protection with its nasal and its broad cheek plates. Herodotus mentions the Corinthian helmet in his Histories (4.180) when writing of the Machlyes and Auseans, two tribes living along the River Triton in ancient Libya. The tribes chose annually two teams of the fairest maidens who fought each other ceremonially with sticks and stones. They were dressed in the finest Greek panoply topped off with a Corinthian helmet. The ritual fight was part of a festival honoring the virgin goddess Athena. Young women who succumbed to their wounds during the ordeal were thought to have been punished by the goddess for lying about their virginity. The Corinthian helmet was the most popular during the Archaic and early Classical periods, with the style gradually giving way to the more open Thracian helmet, Chalcidian helmet and the much simpler pilos type, which was less expensive to manufacture and did not obstruct the wearer's critical senses of vision and hearing as the Corinthian helmet did. Numerous examples of Corinthian helmets have been excavated, and they are frequently depicted on pottery. The Corinthian helmet was depicted on more sculpture than any other helmet; it seems the Greeks romantically associated it with glory and the past. The Romans also revered it, from copies of Greek originals to sculpture of their own. Based on the sparse pictorial evidence of the republican Roman army, in Italy the Corinthian helmet evolved into a jockey-cap style helmet called the Italo-Corinthian, Etrusco-Corinthian or Apulo-Corinthian helmet, with the characteristic nose guard and eye slits becoming mere decorations on its face. Given many Roman appropriations of ancient Greek ideas, this change was probably inspired by the over the forehead position common in Greek art. This helmet remained in use well into the 1st century AD. [A video of this lot is available on the TimeLine Auctions website] Very fine condition, a good example.
9th-11th century AD. A silver pendant of a spear with balustered shaft, midrib to the leaf-shaped blade, ribbed loop. 4.74 grams, 52mm (2"). From the family collection of a London gentleman; formed in the late 1940s-1950s; thence by descent. Gungnir 'shaker' is the name of the spear used by the god Oðinn (Odin"). In the Poetic Edda, it is said to have been forged by the dwarves and to have passed to Loki, who gave it to Odin. Very fine condition. Rare.
14th century AD. A gold finger ring comprising a cusped D-section hoop with shoulders formed as facing beast-heads with triangular bezel, inset possibly later sapphire; two lines of Anglo-French Lombardic text to the hoop '+ QVI.CA.MENVEIA: / IA:DAMOR:NE.TRICERA', for 'He who sent me shall never deceive in Love'. See Chadour, A.B. Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 581 for type; and exactly the same inscription meaning 'He who sent me shall never deceive in Love' occurs on a ring brooch in the British Museum reg.no.AF2689: cf. Evans J. English Posies and Posy Rings, Oxford, 1931, p.5.7.85 grams, 26mm overall, 18.54mm internal (approximate size British Q 3/4, USA 8 1/2, Europe 18 1/2, Japan 17) (1"). Property of a London gentleman; acquired before 1995. Accompanied by geologic report No.TL003164, by geologic consultant Dr R. L. Bonewitz, and X-Ray Fluorescence metal analysis certificate 00920-2017MR. Dr Bonewitz notes: 'Traditionally sapphire attracted wealth. In the context of the ring, it purportedly protected the wearer from infidelity. Traditionally, people attributed to this gem the power to bring harmony between lovers as well as peace between adversaries.' Very fine condition. A large wearable size.
Dated 1720. A George I gold half guinea folded twice into an s-shape for use as a love token gift, first laureate bust right, on the reverse crowned cruciform shields, sceptres in angles, 17 and 20 either side of upper crown. Spink p.401, no.3635.4.07 grams, 21mm (1"). Property of an Essex gentleman; acquired in 2013 from the Reubins collection. In the 18th and 19th centuries love tokens were handmade by suitors who gave them to their sweethearts. Poorer working class young men made their tokens from copper coins. The wealthy young man could use a silver or very rarely a gold coin. It was the custom for a gentleman to either piece and/or bend a coin and give it to his beloved as a token of his love and a sign of his intention to marry her. The coin was not to be spent, but instead, to be carried always by the woman as a demonstration of her fidelity, a constant reminder to her each time she opened her purse. Fine condition.
1620-1621. A James I gold quarter laurel (five shillings) pierced for use as a pendant, first bust, third coinage, with laureate bust left, rose mintmark, IACOBVS DG MAG BRIT FRA ET HIB REX legend; to the reverse a square topped shield of arms with rose mintmark after REGINA. Spink p.276, no.2642.2.23 grams, 21.80mm (1"). Property of an Essex gentleman; acquired in 2011 from the Robert Green collection. In the 18th and 19th centuries love tokens were handmade by suitors who gave them to their sweethearts. Poorer working class young men made their tokens from copper coins. The wealthy young man could use a silver or very rarely a gold coin. It was the custom for a gentleman to either piece and/or bend a coin and give it to his beloved as a token of his love and a sign of his intention to marry her. The coin was not to be spent, but instead, to be carried always by the woman as a demonstration of her fidelity, a constant reminder to her each time she opened her purse. Very fine condition.
1530-1150 BC. A red-white mottled agate cylinder seal with a cross above a seated(?) person, the right hand holding a barley stalk, ear of corn below, by this symbol we can identify this person as the goddess Šala; this agricultural deity was either the wife of the god Adad (IŠKUR), who embodied the power of storms, or the wife of Dag?n (in Hebrew dag?n = grain“), who was the inventor of the plough (ibid., p. 172f. sub Šala, p. 110f. sub Iškur, and p. 56 sub Dagan); the goddess looks to the left at an inscription in nine vertical lines: 1) dIŠKUR ZU-ni [ …] - Adad … [ … ] 2) re-me-ni Ba-[ba6] - Merciful is Ba[ba(?)] 3) A UD i ...3) A UD i ... See J. Black, J & Green, A. Gods, Demons and Symbols of Ancient Mesopotamia, London, 1992, p.39 s.v. barley stalk; for further Kassite cylinder seals with barley stalk see Stiehler-Alegria Delgado, G. Die kassitische Glyptik, MVAS 18, München, Wien, 1996, Pl.10, sub E; and for this type of stone see p.246.9.32 grams, 22mm (1"). Private collection, London, UK; formerly with Persepolis Gallery, Mayfair, London, UK; in the 1980s. Fine condition, although incomplete this is a very important seal for the antiquarian and iconography of the Kassite glyptic.
19th-16th century BC. A banded agate cylinder seal comprising: a robed king, wearing a cap and raising one hand, faces the ascending Sun god who holds his saw toothed knife vertically and rests his foot on a rectangular mountain; the inscription: 1 Mu-na-nu-um M?n?num (M?n?num: 'The little caterpillar') 2 DUMU Nu-ru-bu-um son of Nurrubum (Nurrubum: 'The very-soft-one') For the scene cf. Collon, D. Catalogue of the Western Asiatic Seals in the British Museum, Cylinder Seals V, Neo-Assyrian and Neo-Babylonian Periods, London, 2001, pl.XXVII, no.361.2.63 grams, 24mm (1"). Property of a South West London gentleman; acquired by his father in the 1970s; by descent 1986. Extremely fine condition.
10th-6th century BC. A substantial pendant of Pazuzu with pierced lug above the head; the figure with the body of a man, the head of a lion, short wings to the shoulders, stub tail to the reverse; discoid base. 170 grams, 91mm (3 3/4"). Property of a North London collector; acquired in the 1970s. Pazuzu was the chief demon of the wind, son of the god Hanbi. He brought storms and drought. Pazuzu was invoked through amulets which would scare off the malicious goddess Lamashtu, who could harm mother and baby during childbirth. Fine condition.
1st-3rd century AD or later. A schist head of a Bodhisattva with finely carved features and moustache, urna, plaited band and fanned ornament to the brow; mounted on a custom-made stand. 12.6 kg, 41cm including stand (16 1/4"). Property of a London gentleman; acquired before 1980. The headdress, which is copied from those worn in life by the wealthy aristocrats of the Gandhara region, identifies the subject as Maitreya, the Buddha of the future, who along with the Buddha, and Avalokiteshvara, the Bodhisattva of compassion, formed the three main figures of devotion during the heyday of Indo-Greek art and culture. Fine condition.
2nd-1st century BC. A gold cup formed from a single sheet of metal, with thin rim and body tapering to the rounded base; small hole to the bottom; possibly used for ritual purposes after victory. 125 grams, 8mm (3 1/4"). From a European collection; previously in a large American collection formed in Chicago, Illinois, USA, in 1995; previously in the Mansees collection; formed 1950s-early 1990, accompanied by an examination report from Striptwist Ltd, a London-based company run by historical precious metal specialist Dr Jack Ogden. The Greek historian Herodotus is one of the earliest sources for the Scythians. He tells us that they called themselves Skudat, meaning 'archers' and that they were nomadic people who covered a vast area; they were known by the Chinese who built the Great Wall to protect themselves against their raids. The gold vessels recently excavated at Sengileevskoe-2, Stavropol, also have holes to the base and were found to have a black residue inside that, when tested, was found to be a mixture of cannabis and opium. Herodotus mentions the use of drugs in Scythian rituals: “That no Grecian vapour-bath can surpass … transported by the vapour, they shout aloud.” A number of Scythian burials have been excavated where bags of hemp seeds have been found alongside the deceased. What Herodotus tells about Scythian customs has often been corroborated by archaeologists. Examples are the human sacrifices, the use of skulls as vessels, drinking blood of slain enemies, the funerary rituals, the existence of female warriors, and the use of cannabis and opium to get 'high'. Herodotus may have learned all this from Greeks who lived on the Scythian coast. [A video of this lot is available on the TimeLine Auctions website] Fine condition.
Chojko Mieczyslaw (Polish 1919-1978) MEDITERRANEAN signed gouache on paper 51 by 35cm Mieczyslaw Stanislaw Chojko 1919 - 1978Chojko left Poland during World War II where he fought alongside the allied army in Italy. After the war he went to Britain where he studied at Sir John Cass school of Art, Architecture and Design . Here Chojko’s use of abstraction was ahead of his time. Chojko exhibited with Group 49 , a group of Polish artists who had also come to Britain via Italy. During his solo show at The Related Arts Centre in London some of his paintings were deliberately damaged, which Chojko took personally, refusing to exhibit his work again during his lifetime. The exhibition Art Out of the Bloodlands: A Century of Polish Artists in Britain , took place at the Ben Uri Gallery in London in 2017. It included the work of many contemporaries of Chojko’s, indecating his relevance today.Chojko suffered from bouts of depression and schizophrenia throughout his life. Outsider Art is an umbrella term for self-taught artists who have little or no contact with the art world, often creating during or about extreme mental states. Chojko might be considered an Outsider Artist if it weren’t for the fact that he was formally trained and exhibited for a time.All the works on offer demonstrate a bold use of warm, complimentary colours in turquoise, yellows and oranges. In his works Abstract and Abstract Explosion , the artist uses thick planes of colour interspersed with defined lines. Before the war Chojko underwent a profound experience which left him with a compulsion to paint. He describes experiencing an explosion outside, but going to the window he found that the explosion had occurred in his own mind. He attempted to paint this experience of the explosion many times. Abstract Explosion may be a depiction of this experience.Evidence of his adept use of perspective and design are found in his paintings Couple at a Table and Mediterranean , which are two relaxed depictions of everyday life.- Suzanne DuncanBased on correspondence with Magda Lauer, daughter of Chojko, on 7 December 2017
Chojko Mieczyslaw (Polish 1919-1978) ABSTRACT EXPLOSION signed and dated 1950 gouache on paper 35 by 50cm Mieczyslaw Stanislaw Chojko 1919 - 1978Chojko left Poland during World War II where he fought alongside the allied army in Italy. After the war he went to Britain where he studied at Sir John Cass school of Art, Architecture and Design . Here Chojko’s use of abstraction was ahead of his time. Chojko exhibited with Group 49 , a group of Polish artists who had also come to Britain via Italy. During his solo show at The Related Arts Centre in London some of his paintings were deliberately damaged, which Chojko took personally, refusing to exhibit his work again during his lifetime. The exhibition Art Out of the Bloodlands: A Century of Polish Artists in Britain , took place at the Ben Uri Gallery in London in 2017. It included the work of many contemporaries of Chojko’s, indecating his relevance today.Chojko suffered from bouts of depression and schizophrenia throughout his life. Outsider Art is an umbrella term for self-taught artists who have little or no contact with the art world, often creating during or about extreme mental states. Chojko might be considered an Outsider Artist if it weren’t for the fact that he was formally trained and exhibited for a time.All the works on offer demonstrate a bold use of warm, complimentary colours in turquoise, yellows and oranges. In his works Abstract and Abstract Explosion , the artist uses thick planes of colour interspersed with defined lines. Before the war Chojko underwent a profound experience which left him with a compulsion to paint. He describes experiencing an explosion outside, but going to the window he found that the explosion had occurred in his own mind. He attempted to paint this experience of the explosion many times. Abstract Explosion may be a depiction of this experience.Evidence of his adept use of perspective and design are found in his paintings Couple at a Table and Mediterranean , which are two relaxed depictions of everyday life.- Suzanne DuncanBased on correspondence with Magda Lauer, daughter of Chojko, on 7 December 2017
Chojko Mieczyslaw (Polish 1919-1978) ABSTRACT signed and dated 52' gouache on paper 35,5 by 47cm Mieczyslaw Stanislaw Chojko 1919 - 1978Chojko left Poland during World War II where he fought alongside the allied army in Italy. After the war he went to Britain where he studied at Sir John Cass school of Art, Architecture and Design . Here Chojko’s use of abstraction was ahead of his time. Chojko exhibited with Group 49 , a group of Polish artists who had also come to Britain via Italy. During his solo show at The Related Arts Centre in London some of his paintings were deliberately damaged, which Chojko took personally, refusing to exhibit his work again during his lifetime. The exhibition Art Out of the Bloodlands: A Century of Polish Artists in Britain , took place at the Ben Uri Gallery in London in 2017. It included the work of many contemporaries of Chojko’s, indecating his relevance today.Chojko suffered from bouts of depression and schizophrenia throughout his life. Outsider Art is an umbrella term for self-taught artists who have little or no contact with the art world, often creating during or about extreme mental states. Chojko might be considered an Outsider Artist if it weren’t for the fact that he was formally trained and exhibited for a time.All the works on offer demonstrate a bold use of warm, complimentary colours in turquoise, yellows and oranges. In his works Abstract and Abstract Explosion , the artist uses thick planes of colour interspersed with defined lines. Before the war Chojko underwent a profound experience which left him with a compulsion to paint. He describes experiencing an explosion outside, but going to the window he found that the explosion had occurred in his own mind. He attempted to paint this experience of the explosion many times. Abstract Explosion may be a depiction of this experience.Evidence of his adept use of perspective and design are found in his paintings Couple at a Table and Mediterranean , which are two relaxed depictions of everyday life.- Suzanne DuncanBased on correspondence with Magda Lauer, daughter of Chojko, on 7 December 2017
A DAN DEANGLE MASK, LIBERIA height: 27cm PROVENANCEPurchased in the United Kingdom in the 1960's and gifted to present owner20th Century Masters of Modernism in AfricaStephan Welz & Company is privileged to offer an important and unusual collection of works on paper by 20th century European masters of modernism. Most of the works were assembled by an overseas connoisseur and brought to a new home in Africa during the late 20th century.Returning to Africa brings to mind the influence that Africa and African art had on these artists, particularly Picasso who famously depicted Les Demoiselles d’Avignon after being introduced to African art from the French colonies.African sculpture had in the early decades of the 20th century come to Marseilles in the cargo holds of boats shipping rubber, cocoa and other African products from French colonies to France. The expersive beauty of Dan masks from Côte d’Ivoire were some of the iconic African sculptures that influenced Picasso’s work as seen in Three Figures Under a Tree (1907).One of the iconic African works that was to influence Picasso was the serene beauty of Dan masks from Cote D’Ivoire. - Carol KaufmannThe deangle mask represents an idealized version of Dan beauty. It is characterized by narrow eyes, an oval shape, a smooth forehead and a mouth slightly open to expose teeth. Deangle’s functions are to teach, entertain and nurture.
A DAN DEANGLE MASK, LIBERIA height: 27cm PROVENANCEPurchased in the United Kingdom in the 1960's and gifted to present owner20th Century European Masters of Modernism in AfricaStephan Welz & Company is privileged to offer an important and unusual collection of works on paper by 20th century European masters of modernism. Most of the works were assembled by an overseas connoisseur and brought to a new home in Africa during the late 20th century.Returning to Africa brings to mind the influence that Africa and African art had on these artists, particularly Picasso who famously depicted Les Demoiselles d’Avignon after being introduced to African art from the French colonies.African sculpture had in the early decades of the 20th century come to Marseilles in the cargo holds of boats shipping rubber, cocoa and other African products from French colonies to France. The expersive beauty of Dan masks from Côte d’Ivoire were some of the iconic African sculptures that influenced Picasso’s work as seen in Three Figures Under a Tree (1907).One of the iconic African works that was to influence Picasso was the serene beauty of Dan masks from Cote D’Ivoire. - Carol Kaufmann
Walter Whall Battiss (South African 1906-1982) AFRICAN AFTERNOON signed oil on board 43,5 by 54cm Walter Battiss (1906 – 1982) is considered the foremost South African abstract painter. He was a founding member of The New Group, a group of European and American contemporaries; he was unique to the group as the only artist who had not studied in Europe. He would come to befriend and be influenced by artists such as Pablo Picasso and Gino Severini. During his long career as an artist, Battiss questioned the development of people in their environments, first he enquired about Africa and rock art and later he examined this concept in a broader sense.Battiss’ art production began as academic and rather conservative, his distinctly individual style began to emerge along with his interest in rock art, which had been largely ignored up until that point. His interest in rock art, especially the symbolism and the representation of magic, filtered into his own work, which rapidly broke away from the realism that he had begun with. Many influences contributed to Battiss’ maturing style, but the creative conjurings of rock art were central to his approach. African Afternoon is evident of the style of his later work in that the figures and forms are simplified. He has done away with all chiaroscuro and anatomical details in any of the figures, such as facial features, which are made up of stylized shapes of roughly the same size, with no hieratic scale. African Afternoon appears for these reasons to be created during the late 1940s to mid-1950s, as it possesses much of the characteristics Battiss was concerned with during this period. African Afternoon may also be a recording or recollection which occurred during his travels around the continent around this time. Much of the paint has been applied with a palette knife or thick brush, with the paint mixed directly onto the board. The current work illustrates the influence of the French Fauves had on the artist, to flatten the picture plane and to create a strong surface pattern through the depiction of the red, vermillion and pink palette strokes that make up the clothing of the figures, which is repeated in the village in the background. These vivid colours are often applied with a horizontal gesture, describing the woven pattern and texture of the material that the figures wear. These vibrant hues contrast drastically with the arid background and his choice to depict the skin colour of the firgures as pitch black. In some ways, this work is a departure or transition away from his style, with spontaneous but purposeful strokes of the palette knife, but the content, like much of his earlier work, is strictly located in Africa. - Suzanne DuncanBerman, E., 1974, Art and artists of South Africa , Cape Town, A.A Balkema
Norman Clive Catherine (South African 1949-) FISH MOUTH signed and numbered 07/015 on the base oil on wood height: 36cm (excluding base) Art critic, Hazel Friedman, writes the following about Norman Catherine’s oeuvre: “History and horror, crime and conflict, sci-fi and sexual transgression. Thus begins the attempt to define the art of Norman Catherine. The lexicon broadens: comic, violent, whimsical, playful, sly, satirical, brutish, anxious, at times even idealistic. And so it continues: vivid, brilliant, psychologically disconcerting, emotionally unforgiving, visually unforgettable. His art is distinctly, defiantly dystopian in vision. His landscapes are surrealistic sites of struggle between a bizarre bestiary of creatures. Contorted forms rendered crudely in brash, cartoon hues cavort in irrational spaces. They resemble mutant products of an experiment gone comically awry. Catherine’s sensibility is as whimsical as it is sardonic—as light as it is dark. It is within the moral desolation of a jagged socio-political Norman Catherine287 Norman Clive Catherine (South African 1949 - )288 Norman Clive Catherine (South African 1949 - )FISH MOUTHsigned and number 07/015 oil on wood height: 36cm (excluding base) R 25 000 - R 30 000YELLOW BENT MANsigned and numbered 07/006 oil on wood height: 34,5cm (excluding base) R 25 000 - R 30 000287 288landscape, lodged between the bookends of apartheid and post-apartheid South Africa, that Catherine’s art is most frequently located. In many respects, he epitomizes the ultimate cynic. He eyeballs South Africa’s heart of darkness with unblinking alienation. He conveys his vision through contorted forms performing macabre rites or dances of dandified revelry against the backdrop of a dissipating empire. Yet just at the point where he galvanises his viewers’ sense of outrage so too does he assuage it through laughter. Like the puppeteer or the ventriloquist, he mediates the message through his marionettes.His prodigious oeuvre is pervaded by a revulsion of hypocrisy and sanctimonious political posturing. But his imagery also straddles the internal worlds of wonder and nightmare, swerving between literal commentary and less palpable hallucinatory realms. His syncopated pas de deux with dualities evokes a madness that is as much of the mind as it is of the material world. Throughout, his work embraces the anarchy that sizzles beneath the seamless appearance of structures and systems. In short, Catherine is an artist who defies neat description in terms of iconography and medium. If easy classifications are required, then call him an artist driven by a defiance towards preconception, dogma and rigid definition. He is simultaneously Velcro and Teflon. Influences attach themselves to his work like dust particles. Yet he also shakes them off with equal ease, leaving the viewer with the raw visceral impact of his imagery, striking in a place where a laugh and a gasp are indistinguishable.”Friedman, H. & Catherine, N., Norman Catherine, Goodman Gallery Editions, Johannesburg, 2000
Norman Clive Catherine (South African 1949-) YELLOW BENT MAN signed and numbered 07/006 on the base oil on wood height: 34,5cm excluding base Art critic, Hazel Friedman, writes the following about Norman Catherine’s oeuvre: “History and horror, crime and conflict, sci-fi and sexual transgression. Thus begins the attempt to define the art of Norman Catherine. The lexicon broadens: comic, violent, whimsical, playful, sly, satirical, brutish, anxious, at times even idealistic. And so it continues: vivid, brilliant, psychologically disconcerting, emotionally unforgiving, visually unforgettable. His art is distinctly, defiantly dystopian in vision. His landscapes are surrealistic sites of struggle between a bizarre bestiary of creatures. Contorted forms rendered crudely in brash, cartoon hues cavort in irrational spaces. They resemble mutant products of an experiment gone comically awry. Catherine’s sensibility is as whimsical as it is sardonic—as light as it is dark. It is within the moral desolation of a jagged socio-political Norman Catherine287 Norman Clive Catherine (South African 1949 - )288 Norman Clive Catherine (South African 1949 - )FISH MOUTHsigned and number 07/015 oil on wood height: 36cm (excluding base) R 25 000 - R 30 000YELLOW BENT MANsigned and numbered 07/006 oil on wood height: 34,5cm (excluding base) R 25 000 - R 30 000287 288landscape, lodged between the bookends of apartheid and post-apartheid South Africa, that Catherine’s art is most frequently located. In many respects, he epitomizes the ultimate cynic. He eyeballs South Africa’s heart of darkness with unblinking alienation. He conveys his vision through contorted forms performing macabre rites or dances of dandified revelry against the backdrop of a dissipating empire. Yet just at the point where he galvanises his viewers’ sense of outrage so too does he assuage it through laughter. Like the puppeteer or the ventriloquist, he mediates the message through his marionettes.His prodigious oeuvre is pervaded by a revulsion of hypocrisy and sanctimonious political posturing. But his imagery also straddles the internal worlds of wonder and nightmare, swerving between literal commentary and less palpable hallucinatory realms. His syncopated pas de deux with dualities evokes a madness that is as much of the mind as it is of the material world. Throughout, his work embraces the anarchy that sizzles beneath the seamless appearance of structures and systems. In short, Catherine is an artist who defies neat description in terms of iconography and medium. If easy classifications are required, then call him an artist driven by a defiance towards preconception, dogma and rigid definition. He is simultaneously Velcro and Teflon. Influences attach themselves to his work like dust particles. Yet he also shakes them off with equal ease, leaving the viewer with the raw visceral impact of his imagery, striking in a place where a laugh and a gasp are indistinguishable.”Friedman, H. & Catherine, N., Norman Catherine, Goodman Gallery Editions, Johannesburg, 2000
A FRANCO-FLEMISH VERDU TAPESTRY, BRUXELLES, 16TH CENTURY woven wool, organic pigments, depicting a bear hunt in a verdant landscape surrounding a château and moat populated by hunters, huntresses and dogs in the foreground within a four-sided classical border of scrolling flower arrangements, summer fruits and foliage offset by four graceful figures to each corner,splits, foreground repairs, relined with Belgian linen, later blue border, restorations, cleaned and lined in Paris in 1987 by M. Kechichain, Quai de la Seine, Paris332 by 245cmTapestries, the fine embodiment of history and art, coalesced in Europe in the great weaving centres of Italy, France and the Netherlands, over a thousand years ago. Before the Royal houses of Europe ordered sumptuous and labour intensive heraldic tapestries in the medieval period, smaller and simpler ones were commissioned by ordinary households for the purpose of warmth and decoration. It is however the grand and regal tapestries that have survived over time - many housed in museums, and royal residences - that are now sought after by collectors. Not since the January 1997 sale of a 17th century Brussels tapestry depicting Ulysees and Circe from the estate of the Baroness Grace Confaloneri , has Stephan Welz and Co in Cape Town been in a position to offer two superb examples of early Flemish tapestry. The weaving centres of Bruxelles and Enghien in Flanders (Belgium) reached their height in the XVIth century. The tapestries in lots 457 and 458 produced by these centres, are made entirely by hand of gathered, spun and organically dyed wool. Designs were specially created by “tapestry painters” who created novel designs to be placed under the warp of the loom for the weavers to bring to life. As well as scenes of courtly life, themes of classical mythology and the bible were used as central panels framed by borders of decorative foliage, fruit, flowers and figures set in architectural niches. It is interesting to note that there is a renewed interest in Flemish tapestries, particularly when juxtaposed with clean, contemporary interiors like those of acclaimed Belgian decorator Axel Verwoordt.- Carol Kaufmann
A REPRODUCTION FLEMISH TAPESTRY 'THE LADY AND THE UNICORN', DE SMAAK 133,5 by 182cmThis piece is also called 'The Tapestry Cycle' and forms part of a series of six tapestries depicting the sense. The crest is possibly that of the Le Viste family from Lyon who were aspiring to be nobles. They are purported to have been woven in the late 15th century in the style of mille-fleurs.
VICTORIAN SILVER OCTAGONAL ARCTIC MEDAL, 1818-1855, ISSUED 1857, ENGRAVED BY LEONARD CHARLES WYON. OB. VICTORIA FACING LEFT, REV. THREE MASTED SHIP WITH A SLEDGE PARTY IN THE FOREGROUND, "FOR ARCTIC DISCOVERIES" AND "1818-1855" IN THE EXERGUE, SURMOUNTED BY A NINE POINTED STAR (THE POLAR STAR) AND SUSPENSION RING. ISSUED TO ABLE SEAMAN HENRY SAIT (UNNAMED) WHO SERVED ON HMS TERROR WITH HMS EREBUS ON THE ILL-FATED FRANKLIN EXPEDITION OF 1845-48 TO CHART THE LAST UNKNOWN PARTS OF THE NORTH WEST PASSAGE. IN A LEATHER WATCH CASE NUMBERED 18625. WITH FAMILY NOTES FROM THEIR ALBUM, [OF THE 1486 MEDALS ISSUED, 1106 WERE AWARDED TO OFFICERS AND RATINGS OF THE ROYAL NAVY]
1939 London Underground diagrammatic, card POCKET MAP designed by Hans Schleger (aka 'Zero') who produced a short series from 1938-41 before responsibility was handed back to Beck. This is issue No 1, 1939 and is good condition with a trace of adhesive/stain on the spine where it was once tipped into a guidebook. [1]
1934 London Transport BOOKLET 'Pleasure Parties, School Outings' with attractive covers illustrated by Arnrid Johnston (1895-1972), female artist, born in Sweden, who designed for LT from 1930-35. Small rubber stamp on cover, otherwise very good. Plus a c1915-1920 Port of London Authority BOOKLET WITH FOLD-OUT MAP 'Souvenir of an Excursion on the River Thames from London to Teddington'. Picture shows only part of the map. Foxing stains to cover, contents very good. [2]
1912 Central London Railway POCKET MAP titled 'Central London (Tube) Railway' with a brown border and in a very similar style to maps produced by the Underground Group (who took over the CLR the following year) but with considerable prominence given to its own line. The Ealing Broadway extension, not yet open, is shown in hatched form and that to Liverpool Street shown as operational. In very good, lightly-used condition, ex-guidebook copy with cut-out at margin and re-folded. [1]
Victorian Oak Heavily Carved Writing / Side Table with black leather inset top, the two drawers with lion mask handles, raised on barley-twist legs and cross stretcher. (The vendor placed an advert in a Vancouver paper in 1978 asking for Charles Dickens memorabilia. Mrs Miller who purchased the table in 1972 from Mayfair Antiques got in touch regarding her hall table. It had been purchased from the auction of Gad's Hill Place, Higham, near Rochester and is understood to have belonged to Charles Dickens)
Dr Who Annual 1976, Russell T Davies Dr Who complete First Series DVD set in Tardis box, Captain Scarlet & Black action figures, late SPV, Captain Scarlet & Thunderbirds LP record, Stingray model, 3D Viewmaster with 8 cards & two Jack in the Box toys Condition Report Click here for further images, condition, auction times & delivery costs
LETTERS WRIT BY A TURKISH SPY who lived five and forty years, undiscovered at Paris.....', 5th edition, London 1702/3, seven volumes of eight (missing volume I) together with three odd volumes 1801 and 'Clarissa; or the History of a Young Lady....' 1810 six volumes of eight (16)Please note: every page of every book is not checked, if you are unable to view yourself please ask for detailed information
A BOX OF ANNUALS to include Dr Who Annual 1966, The Dalek Book 1965, The Dalek World 1976 A/F, Stingray 1966 and 1967, Captain Scarlet 1968, Thunderbirds 1967 and 1968, Fireball XL5 1964, 1965, 196 and 1967, TV Century 21 1966, 1967 and 1968 and Supercar 1964 etc together with 'Thunderbirds Are Go!' TV Century 21 Special (17)
A museum quality scratch built finely detailed model by James Brain, B.E.M of the United States Nuclear Ship ' N.S Savannah ' which was the world's first nuclear weapons ship. With cutaway sections of the hull to include; the engine rooms & power room & with lifeboats to port & starboard. Within a custom made presentation cabinet, with plaque. Case measures 27cm x 74cm x 19cm. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the Fred Olsen liner ' M.V. Blenheim '. Within a custom made presentation cabinet, with plaque. Case measures 19cm x 31cm x 11cm. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the United States Navy's ' U.S.N. Nautilus ' which was the world's first nuclear submarine. With cutaway sections of the hull to include; engine room torpedoes, communication rooms, canteen, meeting room & personnel quarters. Within a custom made presentation cabinet, with plaque. Case measures 24cm x 59cm x 16cm. Also to include photographs of Brain with the model, photos of the model on display & The Model Engineer Exhibition Diploma Of Merit award certificate date August 1954. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the cargo ship ' SS Nonsuch 1906 '. The model is decked & equipped with lifeboats present to port & starboard. Within a custom made presentation cabinet, with plaque. Case measures 23cm x 66cm x 17cm. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A collection of WWII Second World War Royal Naval personal effects belonging to Eric Saxton Lyne , who served in the Royal Navy between 1943 - 1945. This lot includes; his uniform with hat, gas mask, padlocks with keys, khaki coloured shirts (2x), travel sacks, 2x photographs, one of Lyne, the other of him with his fellow crew mates & written information of his time in the Royal Navy, as supplied by vendor.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the Royal Navy aircraft carrier ' HMS Ark Royal ' 1985 with detail to include fighter jets, lifeboats & Royal Navy helicopter. Within a custom made presentation cabinet, with plaque. Case measures 28cm x 66cm x 19cm. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
An incredibly rare and important glass plate negative photograph of William Barnard Rhodes - Moorhouse taken shortly before takeoff in what was the first ever recorded Commercial Aircraft flight in history. From an accompanying newspaper article (copy): ' On the day William Moorhouse was granted his Royal Aero Club Certificate he flew to Northampton to collect a consignment of shoes from Messrs Barratt's for delivery to Hendon. This was hailed..as the first commercial use of an aeroplane .' The glass plate negative depicts Moorhouse looking back at the photographer whilst seated in his Bleriot aeroplane with an assembled crowd gathered behind. The lot is accompanied by some contact-prints taken of the negative in the mid 1970's by a family member. It is believed this image is unique and never-before-published (or seen). An incredibly rare part of aviation history. Measures approx; 6.5" x 5" During the First World War, Moorhouse went on to be the first airman to be awarded the Victoria Cross medal. When war was declared, he volunteered for the Royal Flying Corps (RFC) though he had not flown for two-and-a-half years. With a shortage of experienced pilots on the Western Front, Rhodes-Moorhouse was posted to 2 Squadron at Merville, France, on March 21, 1915. His squadron flew the Blériot-Experimental (BE) 2a and 2b aircraft, designed by the Farnborough-based Royal Aircraft Factory, which were sturdy machines but with a maximum speed of just 70 mph at ground level. On April 26 1915, the RFC was ordered to bomb the enemy’s railway network to prevent reinforcements reaching the front lines. Rhodes-Moorhouse, who had been due some much-deserved leave, was instructed to bomb the strategically vital railway junction at Courtrai – one of three targets for just four aircraft. At 3.05 pm, he took off alone from Merville, having been asked to release his 100lb bomb from just below cloud level. However, after making the 35-mile flight, he dropped down to 300ft to ensure a direct hit. He was greeted with a volley of rifle and machine-gun fire, a burst of which perforated his aircraft’s fuselage and smashed into his thigh. At the same time, fragments from his own bomb ripped through the wings and tailplane. Badly wounded and in great pain, Rhodes-Moorhouse had two options: land behind enemy lines, surrender his valuable aircraft, receive medical attention and become a prisoner of war; or try to limp back to base with his aircraft and the valuable intelligence he had gathered. Choosing the latter, he dropped a further 200ft to gain speed and again encountered heavy fire, leading to two new wounds to his hand and abdomen. Despite his appalling injuries, he managed to steer his aircraft home, crossing the Allied lines. At 4.12pm, eyewitnesses saw Rhodes-Moorhouse’s aircraft approaching. He just cleared a hedge, switched off the engine and made a perfect landing. Two officers lifted him from the battered aircraft, which had 95 bullet and shrapnel holes. He was taken to a nearby office, where he insisted on filing his report while his wounds were tended. Rhodes-Moorhouse was then moved to a casualty clearing station, where it was discovered that a bullet had ripped his stomach to pieces. He was given painkillers and it soon became apparent that he was dying. At 2.25pm, with a recently delivered letter from his wife on his pillow and his friend Blake at his side, Rhodes-Moorhouse died. At the time, Field Marshal Sir John French, the British commander, said the pilot had been responsible for “the most important bomb dropped during the war so far”. (taken from an article published in The Telegraph, 29th April 2013). Note: from a fascinating collection of aviation photographs which also feature in lots: 28, 200 and 330. All once belonged to Albert William Eley, Mayor of Milton Keynes in 1978 who had a keen interest in aviation history, particularly in the Milton Keynes area.
Two rare vintage Fencing Epee's / foils / swords. Both having belonged to Olympic medal winning Fencing champions. The first with the bell guard impressed for ' E Mangiarotti ' (Edoardo Mangiarotti was an Italian fencer. He won a total of 19 Olympic titles and World championships, more than any other fencer in the history of the sport. His Olympic medals include one individual gold, five team golds, five silver, and two bronze medals from 1936 to 1960) and the other with the handle impressed ' Kulcsar ' (for: Krisztián Kulcsár is a Hungarian fencer, who has won two Olympic silver medals in the team épée competition. He became world champion in 2007.) Both appear in fair used condition, with various markings to the underside. From a private collection of fencing memorabilia.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the cargo liner ' M.V. St. Essylt '. Some damages to mast & lines, but appears to be complete with lifeboats present. On wooden mount, with plaque. Measures approx 45cm wide & 16cm deep. Also to include a photograph of the model on display & The Model Engineer Diploma Of Merit award certificate dated 5th October 1951. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of John Cabot's ' Matthew ' with full rigging, flags & lifeboat. Within a custom made presentation cabinet, with plaque. Case measures 43cm x 61cm x 29cm. Also along with photographs to include; Brain laying an anchor shaped wreath with newspaper cutting & photograph from of the Merchant Navy Association Memorial in Bristol when it was unveiled by HRH Princess Anne, Princess Royal in May 2001. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the first steam turbine powered steamship ' Turbinia ' with blue ships flag & lifeboat. On wooden mount. Measures approx 41cm wide & 14cm deep. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of The Last Liberty ' SS Jeremiah O`Brien ', complete with on deck weaponry & lifeboats. Within a custom made presentation cabinet, with plaque. Case measures 21cm x 55cm x 16cm. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the British Victorian submarine ' Resurgam ' with cutaway section of the hull showing inner engine. Within a custom made presentation cabinet, with plaque. Case measures 16cm x 29cm x 9cm. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the Royal Navy Midget Submarine HMS X7 with cutaway sections of the hull to include; engine room & living quarters. Within a custom made presentation cabinet, with plaque. Case measures 24cm x 50cm x 14cm. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the first Royal Navy submarine ' Holland I ' with a cutaway section to the hull of torpedo room with large torpedo. On wooden mount, with plaque. Measures approx 53cm wide & 21cm deep. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the Isbrandtsen cargo ship ' SS Flying Enterprise ', with mast, crows nest, bridge & port & starboard lifeboats. Within a custom made presentation cabinet, with plaque. Case measures 26cm x 57cm x 16cm. Also to include a photograph of the model on display. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
Two incredibly rare Edwardian real photo postcards depicting Charles Rolls ( of Rolls Royce ) moments before his fatal air crash at Hengistbury Airfield, Bournemouth on the morning of 12th July 1910. The first postcard depicts Rolls sitting in his Wright Flyer shortly before take and is labelled 'The Hon CS Rolls .' The second postcard depicts the takeoff of the plane and is labelled ' The Hon CS Rolls, taken 3 minutes before the accident .' Photographs taken of the incident are incredibly rare, as, after the fatal crash all photographers were banned from the scene, with some reporting that cameras were destroyed as to not show the fatality to the public. The crash, which killed Rolls instantly was the first ever aircraft fatality recorded in British history. Rare items. Both postcard sized, and in very good condition (not folds / tears). Note: from a fascinating collection of aviation photographs which also feature in lots: 28, 200 and 330. All once belonged to Albert William Eley, Mayor of Milton Keynes in 1978 who had a keen interest in aviation history, particularly in the Milton Keynes area.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the Royal Navy WWII Second World War ship ' HMS Belfast ' with flags & lifeboats present. On wooden mount. Measures approx 52cm wide & 14cm deep. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of ' Her Majesty's Yacht Britannia '. With Royal Standard flag present to central mast & lifeboats to port & starboard. Within a custom made presentation cabinet, with plaque. Case measures 23cm x 59cm x 17cm. Also along with photographs of Brain's model ships on display & being viewed by HM Queen Elizabeth II & The Duke Of Edinburgh in the 1950's. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the Royal Navy ship ' HMS Warrior ' with Red Ensign flag to stern & lifeboats. On wooden mount. Measures approx 58cm wide & 23cm deep. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the Royal Navy WWI First World War ship ' HMS Campbeltown '. Funnels, masts & lifeboats all intact. On wooden mount, with name plaque. Measures approx 46cm wide & 14cm deep. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M of the Canadian Pacific Liner ' SS Empress Of Britain ' with mast flags, lifeboats & Canadian Pacific flag to funnel. Within a custom made presentation cabinet, with plaque. Case measures 23cm x 58cm x 18cm. Also to include The Model Engineer Exhibition Award Of Merit certificate date August 1964. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
A museum quality scratch built finely detailed model by James Brain, B.E.M, of the cargo ship ' Pamela Everard ' with highly detailed bridge. On wooden mount. Measures approx 31cm wide & 11cm deep. James Brain B.E.M. was a local Bristol model shipbuilder who served in Merchant Navy as cook, then later Chief Steward from 1935 on leaving school. When the Second World War broke out, he applied to join the Royal Navy, but was told to stay put. He did so until his retirement in 1981. During the Second World War he served on both the Atlantic & Malta Convoys. When he had spare time on many of his long sea voyages, he would make his highly detailed model ships & submarines to include the N.S Savannah, M.V Blenheim & many others. James Brain was award his B.E.M. ( British Empire Medal ) in 1943 when he was serving on the Malta Convoys on King Line Ship ‘ King Edwin ‘ which was sailing from Alexandria to Malta, carrying much needed supplies. Whilst docked in Valetta Harbour on the 26th April 1943, the ship was bombed. The ship rapidly caught on fire & it was for his valiant efforts in fighting the fire over two days that he was awarded the British Empire Medal. Throughout his life, Brain continued to make his model ships & submarines when at sea & displayed them at many events, some of which were attended by Members of the Royal Family, including HM Queen Elizabeth II & Prince Philip, Duke of Edinburgh. He also went on to win many awards when attending the Model Engineer Exhibitions throughout the 1950’s & 1960’s.
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