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Lot 551
19th century Indian School, gouache on paper, Ganesa, Gana-Pati, Lord of the Ganas, inscribed in pencil and in ink verso, image 29 x 25cm, sheet overall 36 x 29cm, unframed, together with four early 19th century engravings of Indian figuresCONDITION: Colours strong but scattered dirt marks on the image, surrounding unpainted margins are faded and fox marked, inscriptions are in English, tabbed at the top with a tatty card mount.Prints all showing some discolouration of paper.
Lot 566
After Breughel, three monochrome watercolours, Figures in landscapes, tondo, largest 7.5cmCONDITION: Three works on paper, each tabbed down onto a paper backing, the smaller two are 7cm, condition good, finely executed, housed in a quality washline mount with some dirt marks and ebonised frame.
Lot 611
William Ellis, two watercolours, Sportman and spaniels stalking in woodland and Figures before a church, signed and dated 1890/1885, 50 x 72cm and 59 x 46cmCONDITION: Shooting scene - paper bulging outwards, colours fair but scattered fox marks throughout, frame tattyChurch scene - rather dark and gloomy with fox and mould marking throughout, frame tatty.
Lot 398
Laura Hoernig (Missouri, New Mexico, 1872 - 1957) Southwest American Village Scene with Figures. Oil on canvas. Inscribed verso. Hoernig attended the Kansas City Art Institute in 1926 where she studied painting. She was a Painter-Member of the Kansas City Society of Artists in the 1930's. It is known Hoernig exhibited at the Kansas City Art Institute Midwestern Art Show in 1927 and 1932. She also exhibited at the 4th and 5th Country Club Plaza Art Fairs in 1935 and 1936. Sight Size: 15.5 x 19 in. Overall Size: 18.5 x 22.5 in.
Lot 50
Paul Calle (1928 - 2010) and Chris Calle (B. 1961) "1920s - Stock Market Crash". Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. Celebrate the Century Series 32c Stock Market Crash 1929 stamp issued May 28, 1998. On October 24, 1929, the New York Stock Exchange opened ominously. Stockholders unable to raise cash to protect shares purchased on speculation began selling them by the thousands. Values of shares dropped drastically and set off a panic that fed on itself. In a futile attempt to remedy the situation, the Treasury Department declared, "the recession . . . is purely a technical reaction and is not due to any general decline in business conditions." The words fell on deaf ears and the selling continued. On October 29, 1929, the stock market collapsed, shattering the nation's economy. The following winter over four million Americans were unemployed. Soup lines and apple peddlers were everywhere. Although President Herbert Hoover appointed an Emergency Committee for Unemployment Relief, unemployment figures doubled by March 1931. By the end of the year, well over 1,000 banks had failed. In 1932, unemployment stood at 12 million -- one in every four workers was jobless! On March 9, 1933, newly-elected President Franklin Roosevelt passed the Emergency Banking Relief Act. The economy began to show subtle signs of recovery. Three days later, Roosevelt reassured the nation in the first of his famous fireside chats, "It is safer to keep your money in a reopened bank than under the mattress." Image Size: 20.25 x 12.75 in. Overall Size: 23.25 x 16.25 in. Unframed. (B16041 / B16042)
Lot 9
Emile Albert Gruppe (Massachusetts, Florida, 1896 - 1978). Large oil on canvas rare painting of a young attractive red-haired beauty sun tanning on the beach with figures shelling in the background. Likely Naples beach (Florida). Provenance: Acquired directly from the artist, private Naples, Florida collection. Signed and dated 1968 lower right. Housed in original artist frame. Gruppe's paintings can be found in many public collections, including the Washington County Museum of Fine Arts, Hagerstown, Maryland; the Hickory Museum of Art, Hickory, North Carolina; the Southern Alleghenies Museum of Art, Loretto, Pennsylvania; the Los Angeles County Museum of Art; the Montclair Art Museum, New Jersey; the New Britain Museum of American Art, New Britain, Connecticut; the Oklahoma City Museum of Art; the Richmond Art Museum, Richmond, Indiana; the John and Mable Ringling Museum of Art, Sarasota, Florida; the Springville Museum of Art, Springville, Utah; the Sheldon Swope Art Museum, Terre Haute, Indiana; and The White House, Washington, D.C. Sight Size: 24 x 36 in. Overall Size: 31 x 42 in.
Lot 93
Tom Lydon (American, B. 1944) "Progress of Civilization Statue" Signed upper right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Fleetwood First Day of Issue Maximum Card for the U.S. 25c/4c Make-up Rate stamps issued April 6, 1991. Throughout his noteworthy career sculptor Thomas Crawford created many brilliant works of art. Thankfully, many of these important pieces can be enjoyed by enthusiasts today, nearly a century and a half after his death. Visitors in Washington, D.C. revel in his artwork at the U.S. Capitol Building. Crawford created several works for the seat of the nation's government including the Doors to the House and Senate, the massive Statue of Freedom, Statues of Justice and History, and a sculpture titled "Progress of Civilization." The artwork on this Maximum Card is based upon the latter creation. The central theme is America with her Eagle at her side and the sun at her back. The figures of the sculpture were modeled in Crawford's adopted city of Rome in 1854 and carved from marble quarried in Massachusetts. In 1863 the great sculpture was erected on the east front of the Senate Pediment of the Capitol, ironically at a time when America was in the depths of the Civil War and it seemed as if civilization had made little progress. Yet the work has dazzled many through the decades and is no less impressive today. Crawford made other contributions to the world; his son was novelist Francis Marion Crawford, author of the classic Mr. Isaacs (1882). Image Size: 13.75 x 11.75 in. Overall Size: 20 x 15.25 in. Unframed. (B12981)
Lot 95
Tom Lydon (American, B. 1944) "America and Eagle" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Fleetwood First Day of Issue Postal Card for the U.S. 19c Official Mail issue of May 24, 1991. Named for its striking white-feathered head, the Bald Eagle is the proud symbol of the United States, selected as the national bird in 1782 by the Continental Congress. In the Nation's capital of Washington, D.C., the proud profile of the Bald Eagle is captured in sculpture, paintings, official seals and more. One of the most striking examples is the sculpture on the East Central Pediment of the Capitol, upon which this artwork is based. Originally carved in sandstone by Luigi Persico at the urging of U.S. President John Quincy Adams, the central figures of the beautiful sculpture are America and the Bald Eagle. America stands next to a pedestal inscribed "July 4, 1776," while she holds a shield with the letters "USA." To America's left is the Bald Eagle, our chosen symbol of national pride. In 1959, Bruno Mankowski reproduced the originals, which had shown signs of age, in beautiful Georgia marble, brilliantly displaying America and her proud symbol of pride and freedom, the Bald Eagle. Image Size: 13.5 x 12 in. Overall Size: 20 x 15 in. Unframed. (B12945)
Lot 96
Tom Lydon (American, B. 1944) "Peace Protecting Genius" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Fleetwood First Day of Issue Maximum Card for the U.S. 29c Official Coil stamp issued May 24, 1991. Washington, D.C., is a city where the highest aspirations of man are paid loving tribute in etched sandstone and marble. The impressive Capitol Building is a national treasury of spectacular architecture with exquisitely detailed pediments, arches, doors and porticos serving as monuments to the ideals which made this country great. During the early-to-mid 1800s, sculptor Luigi Persico executed a sandstone masterpiece which graced the east central pediment of the Senate wing. Persico sculpted three figures in a tympanum which he entitled "Genius of America." The central figure of America, eagle at her side, grasps a shield inscribed "USA" in her right hand and points to the figure of Justice with her left. Proudly poised with head held high, Justice holds her scales aloft and trails with her left hand a scroll inscribed "Constitution, 17 September 1787." The figure of Hope completes the sculpture. During the 1960 East Front extension project, conservators removed the weather-ravaged sandstone tympanum and replaced it with marble reproductions carved from plaster models cast from the restored Persico originals. This artwork portrays Justice with her scales and scroll, reminding us that in the United States the Constitution provides justice for all its adherents. Image Size: 11.25 x 16 in. Overall Size: 14.75 x 20 in. Unframed. (B13051)
Lot 1104
(See below for english version)Figuren (Restaurant Exil). 19794 Blatt: Jeweils Filzstift in Rot, Stempel in Rot und Blau und Bleistift auf Visitenkarten des Restaurants Exil, Berlin. Jeweils 7,1 × 14,1 cm ( 2 ¾ × 5 ½ in.). Jeweils oben rechts bzw. unten rechts signiert und datiert: Dieter Roth 79.[3137]Zustandsbericht: Schöner harmonischer Gesamteindruck. Die Blattkanten jeweils ohne Einrisse oder Fehlstellen. Vereinzelt mit minimalen Gebrauchsspuren und hellbraunen Fleckchen. Rückseitig jeweils mit schwachen BereibungsspurenWir berechnen auf den Hammerpreis 30% Aufgeld.Figures (Restaurant Exil). 19794 sheets: each red felt-tip pen in, stamp in red and blue, and pencil on business cards from the restaurant Exil, Berlin. Each 7,1 × 14,1 cm ( 2 ¾ × 5 ½ in.). Each signed and dated on the upper and lower right: Dieter Roth 79.[3137]Condition report: Fine harmonious overall appearance. The sheet edges are each without tears or losses. Isolated, minimal handling marks and light brown, small stains. Each with faint scuff marks on the reverseWe charge 30% premium on the hammerprice.
Lot 552
* GREGORY RANKINE (SCOTTISH b 1971), CUTTY SARK oil on board, signed 14cm x 20cm Mounted, framed and under glass. Titled on Compass Gallery, 178 West Regent Street, Glasgow label verso3 Note: In Burns' poem Tam o' Shanter (first published in 1791) the drunken Tam, riding home on his horse, happens upon a witches' dance. Among the dancing figures is a particularly beautiful young witch named Nannie (Scots pet form of Anna), "ae winsome wench and wawlie" (line 164). She is wearing a harn (linen) sark (nightshirt) which fitted her as a child (a "lassie") but is now rather too short for her. Artist: Gregory Rankine graduated from Glasgow School of Art in 1996 and since that time has exhibited in the UK and abroad, including London, Glasgow, Edinburgh, Dublin, Limassol and New York. He undertook a six-month residency in Cyprus, exhibits at the RGI and RSA and was awarded the N.S. Macfarlane Trust Award at the Royal Scottish Academy in 2007. Rankine’s horses are not portraits of bloodstock, but evocations of the strength, elegance and movement embodied by the animal. Widely collected across the UK, Ireland, France, Finland and the US, Rankine’s work is in private and public collections, including The Woolwich, The Prince’s Trust and the University of Strathclyde.
Lot 135
A FINE 19TH CENTURY ORMOLU MANTEL CLOCK, the white enamel dial inscribed Krauel a Troyes, the cresting surmounted by two putto figures, with glazed white enamel with Roman numerals, blued steel dial and twin dial apertures, the body surrounded by fruiting vines, with twin satyr masks to the sides, raised on shaped platform base and scroll feet. 35cm high
Lot 43
AN IRISH GEORGIAN SILVER CADDY SPOON, Dublin 1813, mark of George Nangle, 15cm long; together with a George III silver brightcut engraved sugar nips, London 1802, mark of George Wintle and a cased set of silver cherry sticks, Birmingham 1947, mark of Bishton Ltd, modelled as figures from Charles Dickens novels (copied from original illustrations), and a collection (c.5 troy ozs all in).
Lot 1002
1985 Honda Civic CRX, 1488cc. Registration number B484 APU. Chassis number 0100900. Engine number 1201900.The CR-X was manufactured by Honda between 1983 and 1991, being replaced by the CR-X del Sol. A hatchback variant, the first generation had a 1.5-litre four cylinder engine that returned record fuel economy figures. The CRX established the long bonnet/stubby deck look that defined Civic coupes for a decade. More significantly, it suggested that Honda created fun as well as transportation. The car was a sales success and spawned other, sportier cars.APU was purchased new by Mrs McRae of Billericay on the 22nd February 1985 for £6,500 from the Dragon Motor Company of Leigh on Sea, retained for many years it passed to her nephew and has lead a seltered life, in 2006 the MOT was at 40,062 and now it has only risen to 50,000. Serviced in 2015 at 48,136 and MOT'd in March this year at 49,901.Sold with the V5C, MOT until March 2021, a large amount of old tax discs and various other paperwork.
Lot 1042
1976 Kawasaki KH 400, 400 cc. Registration number OBA 596P. Frame number S3F32169. Engine number S3E032690. Capitalizing on the success of the outrageous Mach III 500, Kawasaki followed up with a range of basically similar two-stroke triples, introducing the 750 H2, 250 S1 and 350 S2 in 1971. In 1973 the S2 was superseded by the 400cc S3, which boasted a longer wheelbase, disc front brake, rubber-mounted engine and - surprisingly - a few less horsepower than its 350cc predecessor. Although slightly down on performance, the S3 could nudge 110mph and raced through the quarter-mile in a little over 14 seconds, figures that put it at the head of its class. The H and S series ceased production after 1975, and the model line became the KH series in 1976, omitting the 750 from the lineup and leaving just the KH250, KH400 and KH500. Model designations changed to 'KH' in 1976, the new KH400 incorporating various improvements including CDI ignition. Stricter emissions regulation and advances in 4-stroke technology caused the demise of the Kawasaki triples in both cases in 1980. Outrageous and uncompromising in their day, these characterful Kawasaki triples have become highly collectible in recent years. OBA was first registered in the UK in December 2016 with a mileage of 9,929 , presumably an import from the USA, soon it was with a Graham Mableson. Our vendor bought it in August 2017 from The Bike Specialists of Sheffield with a mileage of 9,930. He has added only a few miles since, today it is at 10,099 miles. Sold with the V5C, various receipts and old MOT's this machine is highly recommended by Spicers. Offered for sale as our vendor is moving to a smaller property without the storage for his collection, Spicers can highly recommend this machine.
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659585 item(s)/page