[WHITE METAL]. FIVE 1/43 SCALE MODEL CARS comprising a Western Models No.WMS2, 1937 Lagonda 4 1/2 Litre Rapide, slate blue (one horn detached), boxed; Mikansue Grand Tourisme No.20, Aston Martin DB1, white (windscreen detached and slightly bent), boxed; K. & R. Replicas No.KR40, 1969-70 Austin Healey Sprite Mk IV, red (windscreen with one side-screen detached), boxed; Abingdon Classics M.G. TD Midget, bronze (static model) (windscreen bent), unboxed; and Abingdon Classics M.G. TC Midget, maroon, unboxed.
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The Expendables multi signed 40x27 movie poster signatures included are Stone Cold Steve Austin, Terry Crews and Randy Couture. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
VALENTINE HUGO (1887-1968)Portrait d'Arthur Rimbaud signed and dated 'Valentine Hugo 12/33' (upper left); signed 'Valentine Hugo' and extensively inscribed (on the reverse)oil on panel with rhinestones and collage100 x 75cm (39 3/8 x 29 1/2in).Painted in December 1933Footnotes:ProvenancePaul & Lise Deharme Collection (acquired directly from the artist, by 1947); her collection sale, Hôtel Drouot, Paris, 6 March 1953, lot 56.Suzanne Chatelard Collection, Paris (by 1954).Maïta Desmarais Collection, Antibes (by 1984).Anon. sale, Catherine Charbonneaux, Paris, 17 December 2007, lot 143.Acquired at the above sale by the present owner.ExhibitedBrussels, Palais des Beaux-Arts, Exposition Minotaure, May – June 1934, no. 56.Avignon, Palais des Papes, Exposition de peintures et sculptures contemporaines, 27 June – 30 September 1947, no. 68.Paris, Bibliothèque Nationale, Arthur Rimbaud, 1954, no. 1104.Paris, Galerie Charpentier, Le Surréalisme, Sources, histoire, affinités, 1964, no. 175.Bayonne, Entretiens de Bayonne, April - May 1967.Vitry-sur-Seine, Galerie Municipale, La Part des femmes dans l'Art contemporain, 3 March - 13 April 1984, no. 54.New York, The Grey Art Gallery and Study Centre, Cocteau generations, Spirit of the French Avant-Garde, 15 May – 23 June 1984, no. 117 (later travelled to Miami and Austin).LiteratureH. Read, Surrealism, London, 1936, no. 40 (illustrated).A. de Margerie, Valentine Hugo 1887-1968, Paris, 1983 (illustrated pp. 78-79; incorrect dimensions).'Rimbaud', in Grands Écrivains, Choisis par l'Académie Goncourt, no. 22, 1984 (illustrated on the back cover).C. Bernheim, Valentine Hugo, Paris, 1990, p. 268.B. Seguin, De Valentine Gross à Valentine Hugo, Boulogne-sur-Mer - Paris (1887-1968), Boulogne-sur-Mer, 2000 (illustrated p. 131).'Valentine Hugo, l'égérie des surréalistes', in Le Figaro littéraire, 23 January 2003.Exh. cat., Valentine Hugo, Le Carnaval des Ombres, Boulogne-sur-Mer, 2018, fig. 113 (illustrated p. 130).Portrait d'Arthur Rimbaud by Valentine Hugo is one of the artist's rare oil paintings and arguably the most important. Transcending the border between visual arts and literature, it celebrates another definition of beauty in the unexpected. Valentine Hugo was a painter, illustrator, and costume and set designer for the opera and the theatre. After her studies at the École des Beaux-Arts in Paris, and a brief passage in Dadaism, she strayed from Dada's nihilistic, anti-rational ideas to devote herself entirely to Surrealism from 1925. Contrary to Dada, André Breton wrote in the first Surrealist Manifesto (1924) that art gives sense and meaning to life, and insisted on the influence of Freud, psychoanalysis, and the interpretive power of dreams which, according to Breton, were the paradigm of artistic inspiration. Trusting the freedom of imagination, the Surrealists did not explore nature but rather an inner, intimate world. Although Valentine Hugo's entourage already included some important artistic figures of the early 20th century such as Jean Cocteau, Marcel Proust, Erik Satie and Pablo Picasso, her circle widened with the Surrealists. She became close to André Breton, Nusch and Paul Éluard, René Crevel, René Char, Gala and Salvador Dalí, Dora Maar, Man Ray, Yves Tanguy, Tristan Tzara and Max Ernst, who painted a compelling portrait of her. Hugo joined the group as an artist in her own right and not as a muse: she was part of the Bureau of Surrealist Research and she was the first to draw 'exquisite corpses' on dark paper. She often took part in this collaborative artistic game, in which each participant took turns drawing on a sheet of paper before concealing their contribution and passing it to the next player. At the request of André Breton, she also participated in her first Surrealist exhibition at the Loeb Gallery in 1925. Afterwards, she was included in Surrealist exhibitions at the Pierre Colle Gallery in 1933, the Salon des Surindépendants in Paris in 1933, the Minotaure Exhibition at the Palais des Expositions in Brussels in 1934, the Gaceta de Arte de Tenerife exhibition in 1935, and the Fantastic Art, Dada, Surrealism exhibition at the Museum of Modern Art in New York in 1936.The present work is part of a very limited body of works, painted between 1932 and 1936, when Valentine Hugo focused on large formats in oil. Hugo reportedly told André Breton that she had dreamed about Rimbaud and he had encouraged her to complete the portrait. It was painted contemporaneously to her other great masterpiece, Les Surréalistes (1932), which was photographed by Man Ray before it was damaged at the MoMA exhibition in 1936. Her portrait of the Surrealists (including André Breton, Paul Éluard, René Crevel, and Tristan Tzara) follows the same structure as Portrait d'Arthur Rimbaud, laying the composition out from the lower left corner and focusing on the faces emerging from the dark, like an apparition. Valentine Hugo never met Arthur Rimbaud (1854-1891), but the French poet was well-known in the 1930s and celebrated for his oneiric poetry, which seemed to dissolve dream into reality. Accordingly, he was an important influence for the Surrealists and a dazzling figure who wrote all his poetry in a span of just four years. His career ended abruptly at the age of twenty, following the breakdown of his tumultuous affair with the Symbolist poet Paul Verlaine. Both men were passionate but violent, and Rimbaud left France to travel after the breakup. He became a merchant and travelled across continents, only returning to France after falling ill. He died in hospital in Marseille at age 37, in 1891, thus ending an extraordinary life worthy of myth.In the present work, the poet's face emerges from the dark in the lower centre, below two birds that seem to emanate from his mind. One is an eagle, whose feathers blend into Rimbaud's hair and end in sharp blades. These are covered in red, green, white, and black droplets, showing Valentine Hugo's masterful draughtsmanship and her eye for detail. The other bird is white, resembling a swan, but with red feathers. The two birds intertwine in a fight, in which the eagle seems to protect Rimbaud from the sharp beak of the white bird. Five crows, which are a notorious harbinger of death in Rimbaud's poetry The Crows (Les Corbeaux) (1871), are hidden in the white bird's feathers. Nevertheless, this white bird of ill omen crowns Rimbaud with a laurel wreath, a symbolic attribute given to poets. The glory of the poet comes at a price however: one of the thorns pierces Rimbaud's forehead and causes glistening blood to drip from the wound. The blood stains his lips with red, which contributes to the poet's androgynous appearance. This could be a metaphorical allusion to Rimbaud and Verlaine's violent love affair. Verlaine had been the first to recognise Rimbaud's talent for poetry and invited him to Paris in 1871, but their story ended in blood, when Verlaine shot Rimbaud in 1873. In Portrait d'Arthur Rimbaud the poet's face floats in murky, green water populated by strange sea creatures. A flat sea urchin lies on the foreground, and another spiny sea urchin hides behind the poet's right ear. The latter opens to reveal a soft, slimy, dripping interior surrounded by tentacles. This putrefying marine environment was likely inspired by Rimbaud's most famous poem, The Drunken Boat / (Le Bateau Ivre) (1871), which describes a similar settin... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
PAAR MODELLAUTOS / BLECHSPIELZEUG: "AUSTIN HEALEY 963", Ertl - Modellauto, Dyersville Iowa / USA. Rot lackiertes Blech und Kunststoff. Motorhaube, Türen und Vorderachse beweglich / lenkbar. Maßstab wohl 1:24. H. 7 x L. 22,5 x B. 8,5 cm (Gebrauchsspuren). "DUESENBERG SJ TWENTY GRAND, 1933", Franklin Mint - Modellauto. Silberfarben lackiertes Blech und Kunststoff. Motorhaube, Türen, Kofferraum und Vorderachse beweglich. Maßstab 1:24. H. 7,5 x L. 23 x B. ca. 8 cm (Gebrauchsspuren / bespielt).
Matchbox Moko Lesney 'Regular Wheels' issues, comprising No.34a Volkswagen 15 CWT van, blue body (no decals), black base, unpainted metal wheels, boxed; No.35a E.R.F. Marshall Horse Box, red cab with beige trailer, unpainted metal wheels, boxed; No.36a Austin A50 Cambridge, blue/green body, black base, unpainted metal wheels, boxed and No.36b Lambretta and Sidecar, metallic silver/green body black plastic wheels, boxed (4)
Pretty Sebring Sprite, freshly engined and ready to go.A Mk III from 1966, Sebring-bodied and prepared for the fantastic Equipe Racing SeriesThis example has been run and prepared by Droitwich-based, TTPerformanceSome great results achieved over the years by our vendor with much fun had along the wayFull house 1293cc built by TTP with only 2 hours running time Well developed, carefully maintained and ‘pretty as a picture’‘GOV 23D’ is road registered and we’re informed the car is up to date and ready to go with brand new seat beltsThe somewhat convoluted story of the Sebring Sprite has been well documented in the past, from the class-winning trio of cars prepared by Donald Healey for the 1959 Sebring 12 Hours Grand Prix d'Endurance. (prototype Dunlop disc brakes, wire wheels, larger SU carbs, twin-plate racing clutches and straight-cut close-ratio gearboxes) through Stirling Moss’ success in the separate four-hour race for GT cars of under one litre at Sebring in 1960, John Sprinzel’s arrival at Austin-Healey with his Frank Costin-designed Speedwell GT and the legendary success of the 5 ‘Works’ and 2 Sprinzel cars at Sebring in 1961, through to the mid-sixties when over a dozen small firms were building their own streamlined bonnet, fastback versions of the Speedwell GT and Sprinzel Sebring utilising Mk1 and 2 Sprites (latterly the MG Midget) and marketing them as ‘Sebring Sprites’.This Mk III is a Sebring-bodied car and prepared for the fantastic Equipe Racing Series. It has been run and prepared in recent years by Droitwich-based, TTPerformance with some great results achieved with much fun had along the way. It boasts a full house 1293cc built by TTP with only 2 hours running time on the unit.‘GOV 23D’ is road registered and we’re informed the car is up to date and ready to go with brand new seat belts .This is a well-developed, carefully maintained car that’s ‘pretty as a picture’ and offering great value for money entry into the fantastic world of historic motorsport. SpecificationMake: AUSTINModel: SPRITEYear: 1966Chassis Number: N/ARegistration Number: N/ATransmission: ManualDrive Side: Right-hand DriveMake: RHDClick here for more details and images
Eligible for the Settrington Cup at the Goodwood Revival in September. Fondly known as the 'Joy Car' or 'Junior Austin', the 'J40' was manufactured from 1955 to 1971 by disabled miners at a factory in the village of Tiryberth, near Bargoed in South Wales. Built at the instigation of Lord Nuffield, owner of BMC, soon after the Second World War, they were sold in Austin showrooms for £20, which was a considerable price at the time. It has a dummy engine with spark plugs, a handbrake and electric lights and a horn.With chassis number 24425, records suggest that this Austin J40 would have been manufactured around February/March 1962. In need of recommissioning. Click here for more details and images
UNCANNY X-MEN # 138, 139, 140 (3 in Lot) - (1980 - MARVEL) - Cyclops leaves the X-Men + Funeral for Jean Grey + Dazzler, Alpha Flight, Wendigo appearance + First appearance of Heather Hudson + Kitty Pryde joins the X-Men + Wolverine gets a new costume - John Byrne and Terry Austin covers and interior art - Flat/Unfolded - a photographic condition report is available on request
UNCANNY X-MEN #141 - (1981 - MARVEL) - "Days of Future Past" Part One - First appearances of Rachel Grey (Summers), Avalanche, Pyro, Destiny, Brotherhood of Evil Mutants - John Byrne & Terry Austin covers and interior art - Flat/Unfolded - a photographic condition report is available on request
UNCANNY X-MEN #141 & 142 (2 in Lot) - (1981 - MARVEL) - "Days of Future Past" Parts One & Two - First appearances of Rachel Grey (Summers), Avalanche, Pyro, Destiny, Brotherhood of Evil Mutants + "Death" of the alternate future versions of Wolverine, Storm, Colossus - John Byrne & Terry Austin covers and interior art - Flat/Unfolded - a photographic condition report is available on request
UNCANNY X-MEN #129 - (1980 - MARVEL) - First appearance of Kitty Pryde + First appearances of Emma Frost, Sebastian Shaw, and the Hellfire Club + Mastermind appearance + John Byrne and Terry Austin cover and interior art - Flat/Unfolded - a photographic condition report is available on request
Heather Graham signed 10x8 Austin Powers colour photo. Heather Joan Graham (born January 29, 1970 ) is an American actress. After appearing in television commercials, her first starring role in a feature film came with the teen comedy License to Drive (1988), followed by the critically acclaimed film Drugstore Cowboy (1989). She then played supporting roles in films such as Six Degrees of Separation (1993) and Swingers (1996), and on the television series Twin Peaks (1991). She gained critical praise for her role as Rollergirl in the film Boogie Nights (1997). This led to major roles in the comedy films Bowfinger and Austin Powers: The Spy Who Shagged Me (both 1999). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Quantity of vintage automobilia brochures, including Jaguar XK 140, several Singer Gazelle and Singer range, Morris Minor 1000 Traveller, Riley 4/Sixty Eight, Morris 5 Ton Trucks, Commer Superpoie, BMC Austin 701, Sprite Caravans, Commer Express Delivery Van, Thames Traders, several Humber Hawk, Vauxhall Victor, Fiat 1100, several Hillman, Hillman Husky, Austin A60 Cambridge, Austin all models issue, Austin Mini, Austin A60 Countryman, Bedford Dormobile Caravan, Renault Domaine, Renault 4 750, Skoda 440, Auto Union 1000, Auto Union program, p60, Austin A55 Cambridge, Austin A40, Austin A35 Saloon, Austin Seven, Austin 1/2 Ton Van, Austin A35 Countryman, Humber Super Snipe, Thames 5 CWT Van, Bedford, Bedford vans, Ford Consul, Ford Zephyr, Ford Cortina, Ford Anglia and price list, Riley Two Point Six, Lotus Consul Cortina. Good clean condition, few duplicates and some same model different brochure. Approx. 55 brochures.
Automobilia - Classic and Retro Motor Cars - an interesting collection of sales brochures, 1960s and later; including 1960s MGB Superlative, 1800cc, chrome bumper; MGB and MG B Midget, price lists, colour charts, road test, etc; Jaguar brochures, Austin Morris; Austin Healey Sprite; Lotus; Ferrari; Ford Escort; other general sale brochures, Mini Cooper S, MG Metro; Triumph brochures; Midget 1500; V-Spitfire 1500; Auto Tests; Stag; The GT6; The Dolomite Sprint; The TR7, drop head and fixed head; colour charts, price lists; qty with some duplicate varieties of model and year
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32098 item(s)/page