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Click here to subscribeRevell -Two boxed plastic model kits by Revell in various scales. Lot includes Revell #04673 1:1444 scale Tupolev Tu-95"Bear D"; and #04849 1:32 scale BAe Hawk T.1A. Although unchecked for completeness both Revell kits are in Good - Very Good factory sealed boxes with some storage imperfections. (2)
Golf collection 8 full pages of commemorative ball markers from around the world includes St Andrews , Royal Birkdale, Bear Creek, Indian Wells, Arnold Palmer logo, Bud Light plus many more interesting items. Good Condition. All autographs are genuine hand signed and 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.
Anselm Kiefer (German, born 1945) Sefiroth 2002 titledmixed media on photograph laid on canvas157.5 by 88.6 cm.62 by 34 7/8 in.This work was executed in 2002.Footnotes:ProvenanceGagosian Gallery, New YorkPrivate Collection, Italy (acquired directly from the above in 2002)Sale: Sotheby's, London, Bear Witness, 10 March 2015, Lot 141Acquired directly from the above by the present ownerExhibitedNew York, Gagosian Gallery, Anselm Kiefer - Merkaba, 2002, p. 49, illustated in colourAnselm Kiefer's work is a rare achievement in that it produces an immediate effect while leaving a lasting impression. Born into a landscape of rubble and irreconcilable guilt, Kiefer is part of the generation known as the Nachgeborenen, a term used for those in Germany born immediately after the war. Associated with the disparate Neo-Expressionist group, Kiefer's work was deemed controversial, signaling a return to Germany's embarrassing past, his figurative work out of place in an art world dominated by the post-painterly movement. However, it is Kiefer's bold vision that has arguably given expression to the spiritual plight of humanity in the twentieth century. First exhibited at Gagosian Gallery in 2002, Sefiroth is part of a larger body of work dealing with Kabbalist literature and the after-life. A mystical school of thought within Judaism, Kabbalah is understood to be the Jewish response to historical trauma. Issuing from the expulsion of the Jews from Spain in 1492, Kabbalah uses historical trauma and suffering as a vehicle for redemption through a mystical story of creation and destruction. In the present work, Kiefer combines Kabbalistic symbols with mystically suggestive imagery: at its centre the mystical tree of life, the Sefiroth, is imprinted on a snowy backdrop of a staircase, which rather than ascending to heaven appears to fall back to earth. Representing the ten emanations or illuminations of God's eternal light, the Sefiroth can be divided into three categories: conscious emotion, conscious intellect and the super-conscious or 'Kether' representing God at the top of the axis, which Kiefer has inscribed into the work. Through its soft palette of greys and whites, Sefiroth transmits a mesmerizing and enigmatic melancholy, which emanates the secret knowledge of Kabbalah, representing for the artist 'a paradox of logic and mystical belief. It's part scholarship, part religion, part magic. For me, it is a spiritual journey anchored by images' (the artist in 'Heaven and Earth', Anselm Kiefer, exh. cat., Guggenheim Museum, Bilbao, 2007, p. 339).Kiefer's preoccupation with Judaism and more specifically with Kabbalah can be understood within his own wider aesthetic concerns with Germany's National Socialist history and the Holocaust. According to Lisa Saltzman, 'it would seem that on a very basic level Kiefer's work suggests a memorializing impulse, an anamnetic impulse, an impulse to reintroduce, if not into the visual, at least into the linguistic and acoustic, landscape of postwar Germany, the absent other, the Jew, signified in the foreign sounds of the Hebrew language.' (Lisa Salzman, Anselm Kiefer and Art After Auschwitz, Cambridge 1999, p. 43). Through his use of Kabbalistic symbols of destruction and rebirth, Kiefer simultaneously addresses Germany's own preoccupation with the destruction of culture and specifically Jewish culture during the Holocaust. Through his work, Kiefer allowed for a dialogue to be opened regarding National Socialism simultaneous appropriation and destruction of German culture and identity. From Wagner and the Brothers Grimm to the Rhine and the German forest itself, National Socialism sought to adopt those signifiers of German culture as a means to embed and justify their racist and antisemitic world view.Kiefer's work has the unique ability of creating a universal language that speaks directly to our shared humanity, it is through his extensive use of symbols that the artist is able to create both visual and metaphorical bridges between complicated and often problematic imagery, suggestive of our shared histories. Kiefer's work has been celebrated in numerous retrospectives at some of the world's leading institutions including Louisiana, Humlebæk, Royal Academy, London, Guggenheim, Bilbao and Centre Pompidou, Paris, with his work also found in the permanent collections of the Tate Modern, London, Museum of Modern Art, New York, the Metropolitan Museum of Art, New York, the Tel Aviv Museum of Art and the Albertina in Vienna among many others.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
AN ARCHEOLOGICAL REVIVAL CARNELIAN AND ENAMEL BRACELET, BY GIACINTO MELILLO, CIRCA 1880 Centrally-set with a carnelian intaglio, within a finely worked double-knot surround, decorated with enamel motifs and flowerheads, between shoulders accented with vari-coloured enamel, to a fine mesh-link bracelet and enamelled clasp, maker's mark GM, wooden maker's case (Dimensions: Length: 18.0cm)(Length: 18.0cm)Footnote: Giacinto Melillo (1846-1915) Giacinto Melillo was a Neapolitan jeweller, trained in the workshop of Alessandro Castellani. He studied Ancient Art history, especially Etruscan, Roman, Greek and Byzantine art which greatly influenced him and his work. Melillo took over the management of the Castellani workshop in Naples in 1870, when Alessandro Castellani returned to Rome, from which city he had been exiled since 1858. After he had travelled to London and Paris in 1861 and 1862, Alessandro had settled in Naples and founded a school of goldsmiths which, by 1865, was being run by Melillo and it is assumed that the Naples workshop of Alessandro Castellani was established at around the same time. Melillo was clearly a pupil of outstanding ability, directing a goldsmiths' school when he was only nineteen and running a workshop at twenty-four, by which time he was also exhibiting under his own name, at the Workmen's International Exhibition in London in 1870, where he won a silver medal. Melillo took part in fifteen international exhibitions between 1870 and 1900, receiving gold medals at five of them, including Paris in 1878 and 1889. Apart from his jewellery in the 'archaeological style', Melillo also produced silver copies of Roman treasures and exquisite coral jewellery. Melillo's jewels sometimes bear his initials but are more often than not unsigned.
Elizabeth Adela Stanhope Forbes, ARWS (Canadian, 1859-1912)The Gipsy signed and indistinctly dated 'EAFORBES.' (lower left); signed and inscribed ''The Gipsy'/Mrs Elizabeth Stanhope Forbes/Trewarveneth/Newlyn/Penzance' (on a label attached to the frame) oil on canvas96.5 x 122.5cm (38 x 48 1/4in).Footnotes:Provenance(possibly) CD Morton Esq., by 1906.(possibly) Sotheby's 22 February 1972.1Property of a deceased's estate.ExhibitedLondon, Royal Academy, 1901, no. 315.Literature'Women's Studios', The Gentlewoman, 6 April 1901, p. 40.Royal Academy Illustrated, 1901, p. 22.Pall Mall Magazine 'Extra', Pictures of 1901, 1901, p. 64 (illustrated).'The Royal Academy – Second Notice', The Times, 24 May 1901, p. 13.The Royal Academy – Supplement to the Illustrated London News, 18 May 1901, p. IV (illustrated). 'The Royal Academy – Final Notice', Pall Mall Gazette, 16 May 1901, p. 2.Gladys B Crozier, 'Elizabeth Stanhope Forbes', The Art Journal, 1904, p. 383.Mrs Lionel Birch, Stanhope A Forbes ARA and Elizabeth Stanhope Forbes ARWS, 1906, Cassell & Co, p. 80 (illustrated).Austin Chester, 'The Art of Mrs Stanhope Forbes', Windsor Magazine, vol XXVIII, November 1908, p. 628. Judith Cook, Melissa Hardie and Christiana Payne, Singing from the Walls, The Life and Art of Elizabeth Forbes, 2000, Sansom & Co, no 4.97, p. 181.By 1900 the radical first phase of Newlyn School painting had passed, and many original 1880s founders of the colony had left west Cornwall. The recent news that Stanhope and Elizabeth Forbes had opened an art school however, initiated a new phase for the artists' colony that would, in the early years of the century, see the emergence of a distinguished cast of young artists that included Harold Harvey, Dod and Ernest Procter, and Laura and Harold Knight. The continuing success of the colony however, depended upon the Forbes's ability to diversify – to expand its focus on the heroic fisherman and encompass, in Elizabeth Forbes's case, child-lore, chivalric romance, and tales of fairies and woodland sprites. For these, the woods behind Trewarveneth, her home on the hilltop above the town, provided, as Austin Chester noted, 'the inspiration'.2 Depicted with the dedication of a devotee of Bastien-Lepage, according to E Bonney Steyne in The Studio, works such as At the Edge of the Wood (1894, Wolverhampton Art Gallery), demonstrate the use of 'square brush' technique that persists in the treatment of trees in the present lot.3 Painted over the winter of 1900-1, the canvas was not the first modern representation of gypsies. Forbes's husband, Stanhope Alexander Forbes, had addressed the subject in Their ever-shifting home, the progress of which he reported to Elizabeth, then his fiancé, in 1887.4 This stern piece of social realism casts the Romany family as penniless vagrants, viewed with suspicion by local cottagers. In the ensuing decade, the factual reporter in Stanhope left poetic fancy to Elizabeth. When, in 1900, a gypsy girl entered her woodland it signified a moment when serious interest in the origins and lifestyle of the Romany was growing. Within a year of the showing of Their ever-shifting home, the Gypsy Lore Society had been formed and although in its first incarnation it lasted only a few years, the interest was maintained by enthusiasts such as John Sampson, the librarian at University College, London, who took Augustus John, then a Slade student and arch-bohemian, under his wing. As the society, and its journal revived in the early years of the century, many bourgeois travellers inspired by Matthew Arnold's Scholar Gypsy took to the open road. Although lampooned by Jerome K Jerome in the character of 'Mr Toad', these renegades from the suburbs would form the membership of the Caravan Club. In this social and cultural phenomenon, Forbes's The Gipsy, and her husband's Nomads, (Royal Academy 1903, no. 258, unlocated) have been neglected. The work's re-appearance at this moment is therefore significant. The characterisation of Forbes's young woman is also of great interest. Clearly not one of the downtrodden of the earth, she sports a striped skirt and red bandana and by her side is her fiddle. Dance and song, as musicologists and composers were currently discovering, defined the Romany. Her life, unlike that portrayed by Forbes's husband, was to be envied, not pitied, and as the artist indicates, her music comes directly from the natural world, from the birds that surround her. One enthusiastic onlooker, who ironically credited Elizabeth Forbes's work to her husband, read the picture's clues: 'Here The Gypsy[sic] touches actuality as Sinfi Lovell, or the dauntless women of Borrow's wanderings touched a more commonplace present. But this gypsy, alone, with fiddle mute beside her, listening in a pause of her own music to the lyrical pipe of a robin in the leafless woods has a more plaintive charm.5 This unidentified reviewer touched upon the possible sources of the work. While George Borrow's classics, Lavengro (1851) and The Romany Rye (1857) remained in print, Theodore Watts-Dunton's Aylwin published in December 1898, was very much current when Forbes began her painting. A lengthy novel which draws on gypsy lore it tells the tale of the young Hal Aylwin who enlists the assistance of Sinfi Lovell – a 'sublime creation' according to critics – while in search of his true love, Winifred. Sinfi's 'dukkeripen' (fortune-telling in Romany) was the fount of ancient wisdom. Forbes does not of course identify a specific literary source for her work, and gypsies in Cornwall were not an unusual sight, but this young woman asserts more solidity and as much spiritual power as Will-o-the-wisp (1900), in the triptych she had recently shown at the Women's Exhibition at Earl's Court. In the following years, Forbes would return to the celebration of child lore in her Leicester Galleries exhibition of 1904, but it was the emblematic Gipsy that would resonate in the wanderings of Augustus John, the joyful gypsy parades of Alfred Munnings, and the dark-eyed Romany girls of Laura Knight. We are grateful to Professor Kenneth McConkey for compiling this catalogue entry. 1 Cook and Hardie 2000 indicate that two pictures, and possibly three, bear the title, Gypsy, or The Gypsy. They cite a work sold at Newlyn Art Gallery in 1906 for £10, in addition to that owned by CD Morton. At such a low price, the former may be no more than a drawing for the present work which, as contemporary illustrations confirm, is that which appeared at the Royal Academy. 2 Austin Chester, 'The Art of Mrs Stanhope Forbes', Windsor Magazine, vol XXVIII, November 1908, p. 628.3 EBS, 'The Paintings and Etchings of Mrs Stanhope Forbes', The Studio, vol IV, 1894, p. 188. 4 See Caroline Fox and Francis Greenacre, Artists of the Newlyn School, 1880-1900, 1979, exhibition catalogue, Newlyn, Plymouth and Bristol Art Galleries, pp. 83-4.5 EWR, 'The Royal Academy – Local Exhibits', The Western Daily Press, 20 May 1901, p. 3.For further information on this lot please visit Bonhams.com
NO RESERVE Drawings.- Sell (Stacey) & others. Drawing in Silver and Gold: Leonardo to Jasper Johns, Washington DC, 2015 § Bear (Jordan) Mannerism and Modernism: The Kasper Collection of Drawings and Photographs, New York, 2011 § Goldner (G.R.) & others. European Drawings, vol.1 & 4 only, Malibu, J.Paul Getty Museum, 1988-2001 § Alsteens (S.) & others. Raphael to Renoir: Drawings from the Collection of Jean Bonna, New York, 2009 § Prange (P.) Spurenlese: Ziechnungen und Aquarelle aus Drei Jahrhunderten, Hamburg, 2017, illustrations, many colour, original cloth with dust-jackets; and c.55 others on drawings, v.s. (c.60)
PAUL MILLER FOR LANGHAM GLASS; two limited edition paperweights encased with polar bear and penguins, no.19-150 and 12-150 respectively, diameter 7.5cm, and a further Langham glass paperweight encased with a panda in landscape setting, diameter 8cm (3).Additional InformationMinimal wear, good condition.
Rare WW1 Austrian Berndorfer Steel Combat Helmet, being a good example of the very hard to find special pattern Austrian steel combat helmet. Retaining much of its original Austrian light brown paint finish to the shell. Evidence of a post home label once being present to the reverse. Interior of the shell has the Berndorfer bear stamping and size 66 stamp. Metal liner band and three leather liner pads. The liner pads have at some point had a oil protective put over them. Part of a leather chinstrap remains. The helmet shows wear and has some areas of pitting but generally still a good example of a rare WW1 steel helmet. Helmet has a collection label attached, this helmet is part of a small Scandinavian collection we are selling in this auction.
Vintage toys to include two wooden sit on toys, three spinning tops, a mechanical bear, a small Steiff model called 'Clownie', label intact, a Neville Main Jimmy Pirates cosmic book, 1958, a quantity of picture card albums to include cigarette and tea cards to include loose cards, a Holdcourt Ltd novelty telephone in the form of a red telephone box
A LARGE VICTORIAN CARVED MAHOGANY FOLK ART TEA CHEST POSSIBLY IRISH, MID-19TH CENTURY of sarcophagus form, all over carved with bands of leaves, the hinged lid with a seated farmer holding a gun with his dog and a dead hare, the naturalistic base strewn with shamrocks, the body with relief panels of figures with deer, a stag, a bear with vines and the back with bulrushes, the corners with lion monopodia, the interior with twin lidded divisions flanking a cut-glass sugar bowl, with a Hobbs & Co brass lock 30.7cm high, 37cm wide, 22.6cm deep
Box 64 - WhiskyThe One Blended WhiskyStauning Malt WhiskyOmar Single Malt WhiskyTimah Blended WhiskyWeller 12 yr Bourbon WhiskySeven Seals Single Malt WhiskyLangatun Old Bear WhiskyStarward Nova Single MaltStarward Twofold WhiskyBelgian Owl Single MaltBluegrass Bourbon WhiskyBelgian Owl Single Malt Vintage Whisky
A VESTA CASE with an enamelled coat of arms, the reverse initialled and dated "12/11/18", another vesta, initialled, a small enamelled compact, a Teddy bear pepperette by R. Pringle, Birmingham 1908, a Teddy bear figure (loaded) and a nickel-plated pig vesta case; the latter 2" (5 cms) high; 2.4 oz weighable silver (6)
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