LL Product London - Vintage Paint Tins / Pallets. A selection of Four vintage 1960's era, lithographed water colour tin paint sets appearing in Excellent condition with light scuffs and signs of rust appearing. Manufactured by LL Product, London, a British maker of quality paint boxes with fine lithograph colours. LL Product Logo is featured on the lid along with Made In England. Lithographer is identified as 'EVA'. LL Product, much like Page London paint sets, typically depict children painting a scene of whatever they are observing at the time and display "Childhood memories". Lot consists of: Finest Water Colours, 'Playing Dogs' 84mm x 210mm x 12mm. Scottish Children painting 137mm x 251mm x 14mm. Children at the window with dogs and toys (no LL logo by lithography by EVA) 143mm x 327mm x 114mm. World Paint Box 241mm x 310mm x 17mm. (This does not constitute a guarantee).
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ION - Guitar and amplifier kit. A great starter pack for a budding guitarist: ION #iGA03 15 Watt guitar amplifier featuring Gain, Drive (with toggle switch) Master Volume, High, Mid, Low and Headphone output. Power indicator light comes on when plugged in, have tested with the guitar and the amp functions as intended. A switch cleaning lubricant would help with removing dust. #iGP03C 4/4 scale, Strat style electric guitar with 21 frets. Sunburst finish, 3 single coil pickups with 5 way switching, V/T/T config. No fret dings or dead spots, there are stickers on the side of the neck with fret numbers. A possible adjustment of the truss rod would give a little relief and lower the action. Pipe tuner, strings, expression bar, plectrums, manuals, jack to jack cable, strap and learning material included. Guitar housed in a "Gig bag". (This does not constitute a guarantee).
Three Coalport Characters from The Snowman porcelain figure group series comprising 'Cowboy Jig', 'Building The Snowman' and 'Highland Fling' all appear mint in box with all internal packing pieces and two with ephemera, a few with light surface dust, this does not constitute a guarantee [3] [mb]
![Lot to include a Bud Light Spuds MacKenzie belt buckle, metal advertising signs, Star Trek wall plaques and similar. [W]](https://cdn.globalauctionplatform.com/af4b9641-00af-454a-89e4-b00b009e227b/e9b4ee64-9eec-4e16-834d-b045010d8dcb/468x382.jpg)
![A Turkish wool rug, approximately 180 cm x 110 cm. [W]Condition Report: Appears in good condition overall, no significant dam](https://cdn.globalauctionplatform.com/af4b9641-00af-454a-89e4-b00b009e227b/800d4211-06ae-4464-a054-b0460107789f/468x382.jpg)
Two Coalport Characters from The Snowman porcelain figure group series comprising 'Snowglobe - Hold on Tight' and 'Soft Landing', also included in the lot is a Harry Potter figure 'Ron Weasley, Waterball, all appear mint in box with all internal packing pieces and ephemera, a few with light surface dust, this does not constitute a guarantee [3] [mb]
An Elizabeth II "Golden Jubilee" commemorative sword by Wilkinson Sword, 60 cm stainless steel blade with silver gilt and acrylic hilt and with gilt metal mounted and cream leather cloth covered scabbard, with three enamel bosses to front, 78 cm (l) overall (# 63 of limited edition with certificate of authenticity, contained in original presentation case with purchase receipt and paperwork.Note: This lot is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over. Please note that if you require shipping for this lot, this can only be done using an age verified method.Condition Report: Appears in good condition overall, no signs of significant damage, enamel appears in good order, no splits to the leather scabbard covering, some tarnish in areas to the silver and gilding. Case also in good condition, no significant damage, some light scuff marks / scrapes in areas.
![A vintage Bud Light advertising bar top illuminated display depicting Spuds MacKenzie, c.1987, approximately 38 cm (h). [W]](https://cdn.globalauctionplatform.com/af4b9641-00af-454a-89e4-b00b009e227b/6a2a4f74-cfbf-479d-8dcd-b04500ec0b68/468x382.jpg)
†KEVIN DE CHOISY (1954-2020); a large earthenware pedestal dish with wavy rim covered in Whieldon type glaze, impressed deC mark, diameter 35.5cm.Provenance: Kevin de Choisy collection.Condition Report: Light scratches to well, otherwise appears good with no further signs of faults, damage or restorations.
A group of studio ceramics comprising a sculpture of a couple on a bench by Helen Martino, a tea light holder by Brittany Delany, a jug by Taja (Yasahuru Tajima-Simpson), a jug by Sue Binns, and a small vessel by Bryony Burn, various marks, tallest 13cm (5).Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Property from the Marie-Louise von Motesiczky Charitable Trust, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Landscape, Sarkoil on canvas, framed71.5 x 91.8 cmPainted in 1962LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 320 no. 182. This seascape was inspired by Motesiczky’s holiday in Guernsey in July 1961, from where she visited the neighbouring island of Sark. The work was painted back at home in London from a sketch she made on the spot. In this painting the sea takes up most of the space, with only a single sailing boat disturbing its calm surface. A diffuse light emanates from the grey sky. A large rock in the centre of the composition divides the blueish-grey mass of water. A single figure, possibly Motesiczky herself, sits amid the rocky outcrops and colourful vegetation in the foreground. The presence of the easel suggests she is an artist, probably depicting the spectacle in front of her. Yet, the almost transparent manner of the depiction makes the artist appear strangely out of place in this deserted landscape. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
19th century steel and brass fire fender, of breakfront outline, pierced acanthus leaf frieze flanked by two brass laurel leaf and ribbon tied garlands, two implement stands, on brass paw supports, with a pair of similar design implement stands, tongs & shovel L146cm x D34cm a Victorian style cast iron scroll form fender, centred by a Mask of a Gentleman in Tudor period clothing, with matching implement stands, L155cm x D37cm approx, gilt metal five branch ceiling light hung with lustre drops and a Victorian wooden toy cart, for repair
Britain.- Camden (William) Britannia: or, a Chrorographical Description of the Flourishing Kingdoms of England, Scotland, and Ireland ... enlarged by the latest discoveries by Richard Gough, 3 vol. only (of 4), second Gough edition, engraved portrait frontispiece and 104 plates, 57 engraved maps, most folding, 1 folding table, engraved illustrations, frontispiece offset, light foxing but remarkably clean internally, bookplates to pastedowns, contemporary diced calf, blind-stamped decorative border, spine gilt, rubbing to extremities, still overall a sharp set, folio, 1806.
![[Byron (George Gordon Noel)] Monody on the Death of the Right Honourable R.B. Sheridan, first edition, first issue with first](https://cdn.globalauctionplatform.com/a0d37812-71cd-45c7-99f0-b03f00ef5472/eaa94104-d2b9-4cab-ba76-b03f00f33f39/468x382.jpg)
[Byron (George Gordon Noel)] Monody on the Death of the Right Honourable R.B. Sheridan, first edition, first issue with first line on p.11 starting "To weep..." and last four lines on p.12, half-title, 2 advertisement leaves at end, some scattered spotting or light foxing, a few instances of light marginal finger-soiling, handsomely bound in modern green half morocco for Chas. J. Sawyer, spine gilt in compartments, spine ends and corners very lightly rubbed, t.e.g., [Wise 115], John Murray, 1816 § [Middleton (Marmaduke)] Poetical Sketches of a Tour in the West of England, half-title, wood-engraved head- and tail-pieces, a few abrasion marks to front pastedown where bookplate removed, title with contemporary ink ownership inscription to head, occasional very light spotting, contemporary straight-grain red morocco, gilt, spine slightly sunned, rubbed with a few light stains, g.e., Sheffield, Printed for the Author by J. Montgomery, 1822, book-label of J.O. Edwards; and others, 19th century poetry, v.s. (c.25)
Mickle (William Julius) Almada Hill: An Epistle from Lisbon, with half-title and final advertisement leaf, very small stab-holes to inner margin, half-title with very short tear to head and subtle repair to inner margin, E1-3 with small paper repair to upper inner margin, some light soiling, particularly to half-title, endpapers lightly browned, modern calf-backed marbled boards, red morocco spine label, an attractive copy, Oxford, W. Jackson, 1781 § Pye (Henry James) The Progress of Refinement. A Poem, half-title, A4 with tiny rust hole within text, some light browning and scattered foxing, final leaf with short closed tear to fore-margin, modern marbled wrappers, Oxford, at the Clarendon-Press, 1783, first editions, book-label of J.O. Edwards; and others, 18th century poetry of Oxford imprint or interest, some disbound, v.s. (c.17)
NO RESERVE Atlases.- Black's General Atlas, 60 engraved maps by Sidney Hall, Hughes & others, most hand-coloured in outline, some double-page some light off-setting, browning and finger-soiling, occasional spotting, title and a few maps creased, contemporary half morocco, covers detached, boards exposed, tears and heavy wear, folio, Edinburgh, Adam and Charles Black, 1844.
NO RESERVE Dickens (Charles) Pictures from Italy, first edition, first 2 pages unopened, occasional light finger-soiling marks, otherwise internally clean, original cloth, spine faded, corners bumped, spine ends a little frayed, still overall an excellent copy, [Eckel pp.126-127], 1846; David Copperfield, first edition in book form, half-title and errata leaf, 40 etched plates by H.K. Browne, remarkably clean internally without browning, contemporary half calf, spine ornately gilt with red morocco spine label, [Eckel pp. 77-8], 1850, 8vo (2)
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