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Lot 4
A Meissen blanc-de-chine porcelain figure of a bear modelled by August Gaul, the seated bear with head raised to the right, upon a circular naturalistic base with incised signature 'A. Gaul', impressed 'A1066', underglaze blue and incised crossed swords, also impressed 'A. 1066' above smaller '131', 9in. (22.75cm.) high; together with another smaller, similar bear, also by August Gaul with incised signature, modelled seated with one paw beneath its jaw, impressed 'A1059', underglaze blue and incised crossed swords, also impressed 'A.1059' & smaller '118', 3½in. (8.75cm.) high. (2) * Condition: Both in very good condition, with no faults.
Lot 2008
A Vic Newey of Worcestershire, Tudor Style Modern Group of Three Buildings, comprising Antiques Shop, Apothecary and The Black Bear Pub, on a shared plinth base, fitted for electricity, 116cm by 56cm by 66cm high; together with pub style furniture including settles, table, benches, and accessories including barrels and bottles of spirits etc
Lot 2010
Original Alcetty Slip Stream Style Dolls Caravan 'Cliff Aeros', with lift off roof, enclosing three rooms with parquet floor, fitted living/dining room furnishings, a bed with polar bear rug underneath, detailing includes light switches, wall clock and lights, on four wheels with tow attachment etc
Lot 2013
Assorted Dolls House Nursery Miniatures, including a zebra rocking horse on a blue stand, signed 'Maria No.26, Zed 1997' to the base; miniature jointed mouse with blue suede waistcoat, and two similar miniature jointed teddy bears; three L & A St Leger automata of bear with honey, bear with kite and mouse with cheese; a Heather Stringer miniature egg with bear inside and five other animals by Heather Stringer, a puss in boots dummy board; two children's notebooks, two pop up books and two volumes, The Golliwogs Adventures and The Golliwogs at the Sea Side; card theatre, and boxes
Lot 2020
A Group of Assorted Vintage Dolls House Accessories, including a lead painted bulldog, standing gilt figure of Napoleon, figure of Mercury on a black base, painted tin standing terrier, carved oak bear stick stand, Eiffel tower, pair of binoculars, rocking horse, goat, coffee grinder, pewter, metal tap, rifle, fire bucket, dog kennel, half a walnut filled with faux stones, tortoise, frozen Charlotte doll etc
Lot 3174
A Paddington Bear group to include a Gabriel Designs Paddington stuffed bear with a signed Michael Bond Paddington book, a Wanted on Voyage suitcase, a pot of Wilkinsons of Tiptree Orange Marmalade, and a faux parcel of sandwiches, together with a Paddington homemade single arm station sign Condition Report / Extra Information Feet are free from moth holes, overall VG cond. Reverse label read “Please take care of this bear”. Label is medium sized.rear label a bit faded and tatty
Lot 237
A 1950s Teddy Bear brooch, in the style of Van Cleef & Arpels, with textured fur, turquoise eyes, red enamel nose and navy blue enamel paws, measures 4.5cm by 4cm. The brooch is in good condition, with some loss to the enamel to the nose. It is indistinctly stamped '750', valued as gold. It fastens with a pin and revolver catch. Gross weight 15.5 grams. Condition Report made 4th May 2018.
Lot 305
Jeremy Thorpe; an incredibly rare author's own proof copy of ' The Dog Who Knew Too Much ,' - a parody c1979 of the Jeremy Thorpe scandal. Daniel Farson - writing under the pseudonym ' Miss Matilda Excellent ' originally penned the work, and this lot features his own proof copy of the novel (without illustrations, and in a plastic binding) and one of the first printed editions of the novel. The proof copy appears complete, with the first and last few pages loose from the spine. Farson has corrected some elements of the text where needed, and there are spaces left blank for illustrations to be added. The other production-copy of the book features various laid-in newspaper articles by Farson detailing the book's release and reviews in various publications. 'The Dog Who Knew Too Much' reworked the characters from the Jeremy Thorpe scandal into those of dogs. Rinka, a dog that was killed during the attempted murder of Norman Scott was no doubt the inspiration for it's topic. From the rear cover: 'The explosive story of murder, intrigue and conspiracy set in the Devon countryside. Any similarity to recent headlines is purely co-incidental. The characters portrayed bear no relationship to any dogs in that area, living or dead '. The book was published by Jay Landesman Ltd, and illustrated by John & Mary Hiscock. Rare. John Jeremy Thorpe (29 April 1929 – 4 December 2014) was a British politician who served as Member of Parliament for North Devon from 1959 to 1979, and as leader of the Liberal Party between 1967 and 1976. In May 1979 he was tried at the Old Bailey on charges of conspiracy and incitement to murder, arising from an earlier relationship with Norman Scott, a former model. Thorpe was acquitted on all charges, but the case, and the furore surrounding it, ended his political career.
![[§] ALISON WATT O.B.E. (SCOTTISH B.1965) PLANTERS Signed, Glasgow School of Art label verso, oil on canvas 107cm x 1](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/4e1fb410-b6b6-4b13-8046-b0c83d3a344d/468x382.jpg)
Lot 185
[§] ALISON WATT O.B.E. (SCOTTISH B.1965) PLANTERS Signed, Glasgow School of Art label verso, oil on canvas 107cm x 138.5cm (42in x 54.5in) Provenance: Alison Watt's degree show at the Glasgow School of Art, 1988, where purchased by the current ownerALISON WATTWe are delighted to present a degree show work by renowned contemporary Scottish artist, Alison Watt, in this auction. Planters dates from 1986, the year before Watt graduated from the Glasgow School of Art, and, in a striking demonstration of her precocious talent, also the same year she won the prestigious John Player Portrait Prize (now the BP Portrait Prize). As a result, she was commissioned to paint the portrait of the Queen Mother, and the charming resulting work entered the collection of the National Gallery in London in 1989. Since her graduation Watt has had a high-profile and illustrious career, with solo exhibitions at the Fruitmarket Gallery, Edinburgh, and the Scottish National Gallery of Modern Art. She was the youngest ever Associate Artist of the National Gallery in London from 2006-2008 and received an O.B.E. in the 2008 New Year Honours. In the period immediately after her graduation, in the late 1980s and early 1990s, Watt was particularly known for her figurative work, particularly female nudes. At this point, the art world’s attention had been captured by a return to a preoccupation with the figurative through the bold, brash work of the New Glasgow Boys; a loose association of artists trained in the Glasgow School of Art throughout the 1980s, including Peter Howson, Adrian Wiszniewski, Steven Campbell, Ken Currie and Stephen Conroy. Watt was a contemporary of theirs, and was enmeshed in this community and moment, though she was working in a softer palette and with a stronger commitment to classical references.Planters dates from this period and in one striking, early work, sums up many of Watt’s artistic pre-occupations. The title itself is laden with meaning, referring as it does to both the figures and the central pot, and suggesting themes of new beginnings, growth, fertility, ritual and nourishment. The deep palette of browns, with beautifully toned blues and greens adding depth, shows her commitment to exploring subtle tonalities – as her career has progressed this has remained an on-going concern as she has moved through periods of working in greys and ultimately a lengthy exploration of white. There is a substance and directness to Planters; both figures, which bear a resemblance to the artist but aren’t quite a self-portrait, look out at us, while the paintings beyond, particularly the one showing an extending road, draw us deeper in. The portrait featured is in fact a self-portrait by Stephen Conroy, fellow art student, New Glasgow Boy and Watt’s boyfriend at the time.From the outset, Watt’s work has had a quiet power and lashings of symbolism but as her career has progressed she has moved away from figuration and portraiture. In her solo exhibition in 1997, she began introducing fabric as a subject in her work, and by her exhibition in 2000, she had given over to fabric entirely, showing twelve large canvas of swathes of fabric, the figure now only present in its lingering absence, and the suggestive imprints and textures it has left behind. Watt has continued in this vein for the last 18 years, finding endless inspiration and challenge in this captivating and elusive subject.The auction of Planters is a wonderful opportunity to see and potentially own a work by this artist from an important moment in her career, where she was just getting started, but her vision and talent was already beautifully established and whole.
![[§] ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STILL Signed verso, oil on card, with accompanying copies of](https://cdn.globalauctionplatform.com/2cf487da-1f6e-4783-ab7b-a927009eaef2/901f67cb-af97-4f02-9ea4-a7234ef24b34/468x382.jpg)
Lot 186
[§] ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STILL Signed verso, oil on card, with accompanying copies of two Alison Watt publications by the Ingleby Gallery, produced in a limited edition of 20 and presented in the set's original cloth bound box 16cm x 16cm (6.25in x 6.25in)ALISON WATTWe are delighted to present a degree show work by renowned contemporary Scottish artist, Alison Watt, in this auction. Planters dates from 1986, the year before Watt graduated from the Glasgow School of Art, and, in a striking demonstration of her precocious talent, also the same year she won the prestigious John Player Portrait Prize (now the BP Portrait Prize). As a result, she was commissioned to paint the portrait of the Queen Mother, and the charming resulting work entered the collection of the National Gallery in London in 1989. Since her graduation Watt has had a high-profile and illustrious career, with solo exhibitions at the Fruitmarket Gallery, Edinburgh, and the Scottish National Gallery of Modern Art. She was the youngest ever Associate Artist of the National Gallery in London from 2006-2008 and received an O.B.E. in the 2008 New Year Honours. In the period immediately after her graduation, in the late 1980s and early 1990s, Watt was particularly known for her figurative work, particularly female nudes. At this point, the art world’s attention had been captured by a return to a preoccupation with the figurative through the bold, brash work of the New Glasgow Boys; a loose association of artists trained in the Glasgow School of Art throughout the 1980s, including Peter Howson, Adrian Wiszniewski, Steven Campbell, Ken Currie and Stephen Conroy. Watt was a contemporary of theirs, and was enmeshed in this community and moment, though she was working in a softer palette and with a stronger commitment to classical references.Planters dates from this period and in one striking, early work, sums up many of Watt’s artistic pre-occupations. The title itself is laden with meaning, referring as it does to both the figures and the central pot, and suggesting themes of new beginnings, growth, fertility, ritual and nourishment. The deep palette of browns, with beautifully toned blues and greens adding depth, shows her commitment to exploring subtle tonalities – as her career has progressed this has remained an on-going concern as she has moved through periods of working in greys and ultimately a lengthy exploration of white. There is a substance and directness to Planters; both figures, which bear a resemblance to the artist but aren’t quite a self-portrait, look out at us, while the paintings beyond, particularly the one showing an extending road, draw us deeper in. The portrait featured is in fact a self-portrait by Stephen Conroy, fellow art student, New Glasgow Boy and Watt’s boyfriend at the time.From the outset, Watt’s work has had a quiet power and lashings of symbolism but as her career has progressed she has moved away from figuration and portraiture. In her solo exhibition in 1997, she began introducing fabric as a subject in her work, and by her exhibition in 2000, she had given over to fabric entirely, showing twelve large canvas of swathes of fabric, the figure now only present in its lingering absence, and the suggestive imprints and textures it has left behind. Watt has continued in this vein for the last 18 years, finding endless inspiration and challenge in this captivating and elusive subject.The auction of Planters is a wonderful opportunity to see and potentially own a work by this artist from an important moment in her career, where she was just getting started, but her vision and talent was already beautifully established and whole.
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93468 item(s)/page