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Lot 235
A WOODEN DOLLS HOUSE, in the form of a Victorian/Edwardian villa, front and roof opening to reveal four rooms and landing over three floors, unfinished kit, comes with items to finish project, including stairs and interior fittings, transformer for lighting, paint etc and a quantity of furniture, size of house approximately 80cm high x 55cm wide x 48cm deep
Lot 20
A large radio collector's home-constructed wireless shop interior display:With stained pine shop counter and metal £.s.d. till, period testing equipment, both period and reprinted adverting material including 1930s Radio Times BBC tinplate ribbon microphone calendar, 'Ekco boy' and 'Mullard girl', books and manuals, valve cards, and a vast quantity of 1920s and 1930s boxed components, parts and accessories, an overhead lighting globe and Art Deco 'lady' lamp. (qty)
Lot 768
German Third Reich Kriegsmarine Officer’s dagger circa 1938-45 by WKC. A good example, the anchor etched blade with double fuller and to the forte the cutler’s details of “W.K.C.” with knights head logo. Gilt metal mounts, twist wire bound simulated ivory grip. Housed in gilt metal scabbard with engraved lighting bolts, oak leaf supports for the two loose suspension rings. Minor service wear. VGC
Lot 143
3 x London Underground GUARDS' EQUIPMENT BAGS (2 used, one unused) of the tradtional type with bullseye logo plus a c1980s DRIVER'S BAG in used condition. Plus 8 x small EMERGENCY CANDLES (unused) ex-38 Tube Stock which were used pre-1960s, before the fitting of emergency lighting, in the event of power failure in the tunnels. [12]
Lot 1770
A rare yellow diamond, enamel and yellow gold ring, last quarter 17th century The cushion-shaped old brilliant-cut yellow diamond weighs 3.16 carats and is set within the raised box bezel with engrailed edges above arcading filled with stylised acanthus enamelled white with black details, each shoulder chased with an auricular scroll, formerly enamelled, to the plain hoop, the interior of the plain closed back setting lined with black pitch to heighten the golden tint of the stone. Probably English. Accompanied by report number 2175692368 dated 21st June 2016 from GIA, New York stating that the round-cornered square modified brilliant cut diamond weighs 3.16cts, is a natural, even fancy deep brownish yellow colour with SI2 clarity with strong yellow fluorescence. COMMENTARY BY DIANA SCARISBRICK This fine and rare ring set with a brilliant-cut diamond marks a milestone in gemmological history, resulting from the discovery of the laws of refraction and analytical geometry during the second half of the seventeenth century. Until 1664, when the earliest brilliant-cut diamond, the Wittelsbach, is recorded, diamonds were cut as either point, table or rose-cuts№. This new multi-faceted technique of cutting released so much more fire and light that Robert de Berquen, in Les Merveilles des Indes Orientales (Paris 1669), compared it with "the sun, shining out amongst all other stones". At the same time, the supply of Golconda diamonds from India increased substantially, encouraged principally by the desire of Louis XIV to make his court at Versailles the most splendid in Europe. Across the Channel, by 1695, London had emerged as the centre of the European trade in diamonds due to the gemmological and financial skills of the resident Portuguese Jewish experts. In addition, as far as cutting and polishing were concerned, although the Dutch lapidaries excelled at rose-cut diamonds, the London workshops were acknowledged as the masters of the new brilliant-cut. It is highly significant that the 410 carat Pitt Diamond acquired by the Regent of France was brilliant-cut by Joseph Cope in London 1704-1706. This superiority is confirmed by the auction catalogue of the precious stones of the Chevalier de la Rocque (1745): "celle de l'Angleterre est plus reguliиre, plus nette et plus vive: et par consequйnt plus estimйe" (English cutting is more regular, more precise and more lively and therefore of higher value)І. These words could equally well be applied to this impeccable ring with its wonderful play of light. During this period, before the discovery of the mines in Brazil in 1727, stones of this size were rare and as in most cases jewellers had to make the best of small stones grouped together in clusters, the survival of a solitaire is exceptional. Not only is the faceting apparently English, but also the setting, which differs from late 17th century French mounts which are more elaborately decorated and richly enamelledі. Furthermore, the simplified design in this example accords with the change of fashion, marking the turn of the century towards minimally enamelled and less massive settings; thus, not detracting from the splendour of the gem but showing it off to best advantage. Since grander social events were now taking place at night due to improvement in candle lighting, the effect of this diamond displayed on the finger of a high ranking lady or gentleman would have been extraordinary, eclipsing all other stones. © DIANA SCARISBRICK: August 2016 1. Tillander, H., Diamond Cuts in Historic Jewellery , 1995 p.155 2 Gersaint, E F, Catalogue Raisonnй des differens effets curieux et rare contenus dans le cabinet de feu M le Chevalier de la Roque , Paris 1745 3 Scarisbrick, D, Rings, Symbols of Wealth, Power and Affection, 1993, pp92-93, and p98 DIANA SCARISBRICK, MA, FSA Diana Scarisbrick is a world-renowned art historian specializing in the history of jewellery and engraved gems Her extensive research covers jewels from the Renaissance to the present day and she has contributed to numerous exhibitions, catalogues and art journals worldwide She is Research Associate at the Beazley Archive, Institute for Classical and Byzantine Studies, Oxford University, and was elected Fellow of the Society of Antiquaries in 1987
Lot 134
In the manner of Edgar Brandt (1880-1960) a large cast iron Floor Lamp (unsigned), Edgar Brandt is considered the leading creative force in French Art Deco ironwork, Brandt's screens, tables, lighting fixtures, bronze vessels etc., highlights of the famous 1925 Exposition Des Arts Decoratifs Et Industriels in Paris are sought after today by collectors around the world, larger pieces usually being designed for luxury passenger liners, embassies and grand shops. It is rare, apparently, for his pieces to be signed or stamped with his full name, 173cm high
Lot 512
CODE 3 LLEDO: A good collection of 14x Lledo Code 3 (custom non-standard livery) and Promotional diecast models. All Scammels and Model T's - Allied, LTR, Nottingham's Goose Fair, Groundle Glen Railway Centenary, Emergency Lighting Unit, Queen's Coronation 40th Anniversary, Fleetspray Vinyl Signwriting, Lions International, Billy Danters on tour, Somerset Traction Engine Club, Somerset Traction Engine Club, Emergency Relief Aid for Albania, Milk Marketing Board, John Smith's Ales. All boxed.
Lot 10
DUMAIGE SIGNED BRONZE SCULPTURE, H 26", W 8", "APRES LE COMBAT"Dumaige bronze sculpture depicting a French soldier lighting his pipe while leaning his rifle on his arm. Square integral base with brass plaque inscribed: "Apre Le Combat" (After the Combat), Grenadier de 1792 Par Dumaige. H.C." also inscribed "H. Dumaige" on the side of the base.good condition, GA.- For High Resolution Photos visit Dumouchelles website.
Lot 156
John Opie (British 1761-1807) A young boy playing with a cat, oil on canvas, unframed, 76 x 64cmProvenanceColognaghi, Faulkner, 1930BiographyOpie, John (1761-1807), portrait and history painter, was born in May 1761 at Blowing House, Mithian, St Agnes, near Truro, Cornwall. When he was fourteen or fifteen, Opie was 'discovered' by Dr John Wolcot, an amateur artist and critic who was both a pupil and a friend of Richard Wilson, and who had valuable acquaintances in the artistic world (a portrait of him by Opie is in the National Portrait Gallery, London). Wolcot proved to possess something of genius as a publicist and he and Opie went into partnership in the promotion of Opie's career. Wolcot introduced Opie to Sir Joshua Reynolds, who was very much impressed and rather crushed his former pupil James Northcote, who was then trying once again to establish himself in London: 'You have no chance here', Northcote recorded Reynolds as saying to him, 'There is such a young man come out of Cornwall … Like Caravaggio, but finer' (Leslie and Taylor, 2.341-2). Northcote nevertheless became a lifelong friend of Opie, for whom he retained the highest regard, remarking to Hazlitt, 'He was a true genius' (Earland, 31), and Opie's portrait of Northcote dates from about 1799.On 4 December 1782, at St Martin-in-the-Fields, Opie married, unhappily as it turned out, Mary, daughter of Benjamin Bunn. Her father was described as 'a Jew broker to whom Opie used to sell his pictures' (Earland, 46). Alfred Bunn, the tyrannical theatre manager, was apparently a relation of his wife's with whom Opie stayed in touch.The marriage led to Opie's parting from Wolcot. Opie was earning more than Wolcot, but now had a wife to support. Wolcot, on his side, was later wont to point out that he had given up his medical practice and £300 or £400 a year in order to promote Opie. While they were in partnership Wolcot earned some money with his Peter Pindar satires, which also provided a useful vehicle for favourable publicity on Opie's behalf as, for example, with one of two portraits of the organist and composer William Jackson, exhibited at the Royal Academy in 1783. The break with Wolcot was not final at this stage: Opie and his wife together with Wolcot visited Wales in 1783 or 1784, and Wolcot and he toured the south-west in 1783-4. Opie's particular gift for child portraiture was demonstrated at this time (c.1784), with paintings of the children of the fifth duke of Argyll and his famously beautiful duchess, the former Elizabeth Gunning (priv. coll.). One of Opie's finest fancy pictures, A Peasant's Family (Tate collection) is also of children and was painted c.1783-5, while Opie further demonstrated his range in a groundbreaking genre group showing a schoolmistress and her varied pupils (priv. coll.). It was exhibited at the Royal Academy in 1784 under the title A School and drew Walpole's approving note, 'Great nature, the best of his works yet' (Earland, 54). At the same time in his more original portraits, for example, Thomas Daniell and Captain Morcom, with Polperro Mine, St. Agnes, in the Background (1786; Truro, County Museum and Art Gallery; another version ex Sothebys, London, 13 July 1994, no. 66), Opie developed this same rare seam of realistic genre, of a kind which seems to reach back to John Riley's portraits in the preceding century.Opie was also attracted, however, by that chimera of the British school, history painting on a large scale. By the winter of 1786 he was signed up to create a substantial number of canvases for Alderman John Boydell's Shakspeare Gallery. This commission followed close upon Opie's dramatic success with his first large history picture, The Assassination of James I of Scotland, when it was exhibited at the Royal Academy that year. Caravaggio, not only in the lighting but also in the gestures, although contemporary reference was more often made to the influence of Lo Spagnoletto (Jusepe Ribera).One can only speculate about how these influences came to bear upon Opie, since the tracks of his artistic education were so carefully covered by Wolcot, but prints after Caravaggio were certainly in circulation in eighteenth-century Britain. At the time, however, Opie was even more widely talked of as an 'English Rembrandt' and Caravaggio's influence would have been mediated through the many works of Rembrandt which Opie could have come across in English collections. The success of Opie's history pictures assisted his election as associate of the Royal Academy in 1786 and as Royal Academician in 1787.Like many another English artist, Opie was frustrated by having to paint portraits for a living rather than grander history paintings, and his income was also augmented by a few pupils: Henry Thomson RA; Theophilus Clarke ARA; Thomas William Stewardson; Jane Beetham; William Chamberlain; John Cawse; and the amateurs Elizabeth Mary Booth and the Revd John Owen (both referred to above) and Katherine St Aubyn. However, despite his yearning for fancy pictures and histories, and his skill at them, Opie exhibited his last historical painting at the academy in 1804, a scene from Gil Blas, and thereafter painted only portraits. The focus and freshness of his vision in portraiture gave way in his last years to imitative eclecticism, picking up a hint of Gainsborough here or a touch of Hoppner there.Opie's further ambition to become professor of painting at the Royal Academy began unpromisingly with a course of lectures at the British Institution in 1804-5 which he failed to finish. Nevertheless, when, on his becoming keeper, Henry Fuseli resigned the professorship at the academy in 1805, Opie was elected to the post, and the four lectures he managed to deliver in February and March 1807 were both better written and better presented than his earlier series. They were published as Lectures on Painting (1809). The last lecture was given on 9 March and, after a visit to Henry Tresham a few days later, Opie caught cold and subsequently a fever. He died in London on Thursday 9 April 1807. Opie enjoyed a remarkable reputation in his lifetime, although his own high estimation of his achievement has not lasted. He had genuine, if often sarcastic, wit and real talent and produced a handful of striking and original images. He struck a distinctive note among his contemporaries which can still be recognized. Technical shortcomings in drawing and in creating coherent figures, of a kind not unknown among his peers, made him inconsistent as a portraitist, but his fancy pictures and portraits of children can be better than those of almost any British artist of his time. He was not congenial and was liked and disliked in almost equal measure, not always for the right reasons in either case. It was noticeable at the time, for instance, that he was reluctant to stay long with his second wife's relations on visits to Norwich, and it may be that they did not heartily approve of him. A story told of Amelia's cousin Robert Alderson after the funeral on 20 April (a lavish affair at St Paul's Cathedral, where Opie was interred in the same vault as Reynolds) suggests this family mistrust, and also Opie's idiosyncratic character. The undertaker apologized to Alderson for putting the coffin the wrong way round (with Opie's feet towards the west rather than the east). 'Shall we change it?' he asked. 'Oh, Lord, no!' replied Alderson. 'Leave him alone! If I meet him in the next world walking about on his head, I shall know him' (Earland, 234).
Lot 262
A Turkish pistol ramrod (suma), iron rod with brass head, incised decoration to the upper part, small braised-on loop for suspension, barley twist brass handle with baluster finial being also the handle for tongs concealed within the hollow rod, length 37mm. Turkish martial culture appears to have favoured a rod hung from the belt as a separate accoutrement, rather than one fixed to an associated pistol. Apparently the tongs were for lighting a pipe, presumably by introducing an ember to the bowl. Reference : George Cameron Stone, 'Glossary...'
Lot 510
An ebonised timber extending book trough together with one other, a Sorrento ware box of rectangular form decorated with swifts and lettering reading Recuerdo, a gilt wooden dressing mirror and lighting to include desk lamps, a brass type example with foliate detail, a Chinese vase desk lamp, etc
Lot 578
Antique lighting to include a heavy iron and brass mounted miner's lamp, a further lamp stamped Ceag 2 Volt Standard Lamp, further brass and other industrial hand lamp units to include an example stamped Type BE, The Ceag Lamp, another stamped Oldham Wheat, Type QS Patent, etc together with hand torch/flash light units to include two examples by Oldham & Son Limited, Denton, Type TD1 and TD3A, a further safety torch, an Exide Triclod Type F1 lamp unit by J Youle & Co Ltd, Rotherham, etc
Lot 7
Various Accessories, Brass & Other Lenses & Lighting.Quantity of various accessories to include flash units, boxed LED Macro Ringlight (seems unused), Tamron & other lenses including a brass lens with removable L39 adapter etc. Also a boxed lighting stand and a florescent studio light with softbox.
Lot 2038
Pagoda' models of Mercedes-Benz's long-standing SL Series have long since been a favourite of collectors the world over, especially in its final iteration - the 280, as offered here. And what a fine-looking, 'matching numbers' specimen this example is. It benefits from having lived most of its life in the relatively rust-free environment of California before being imported to the UK in 2015. It was subsequently placed in the hands of Norfolk Premier Coachworks of Norwich who brought the lighting in line with European specifications, overhauled both the steering and gearbox linkage, installed new suspension bushes, carried out a successful leak down test on the engine, undertook a full service, and also a full body respray. Some £13,000 has evidently been invested in the Benz in the last 12 months, and the bodywork and underside are understood to have been in 'excellent' condition already. The vendor perhaps unsurprisingly now grades the car's bodywork, paintwork, interior trim, straight-six engine and four-speed automatic transmission as all being in 'excellent' order. He is now offering this lovely left-hand drive convertible ready for UK registration (ie with US title and HMRC documents and all import taxes paid), and complete with invoices from Norfolk Premier Coachworks for the work recently carried out, plus an MOT valid into September next year. Finished in a lustrous shade of Deep Red and trimmed in a contrasting tone of Brown, the Mercedes now seeks a new home worthy of its condition.The 280SL was launched in 1968 and powered by a new seven-bearing crankshaft 2781cc straight-six engine that developed some 170bhp and 180lbft of torque. It was equipped with all-round independent suspension, power-assisted disc brakes and recirculating ball steering. Some 23,885 280SLs were reputedly made by the time production ceased in 1971, virtually half of which were exported to the USA.
Lot 2137
"The optimum in covered car transporters. Our fully enclosed transporter has a one-piece roof section with lightweight foam cored and GRP side panels, giving excellent looks and aerodynamics. The whole transporter is designed for easy operation and will carry most types of vehicle. Our design means many custom options are available including different bed lengths and internal heights, optional side door sizes and positions, two-car second deck systems, 12v internal lighting system, 240v plug in power / lighting system, tyre racks and/or workbenches. The ProSporter is suitable for race car teams as well as professional car transportation, giving complete protection and privacy, while the side panels are ideal for the application of corporate logos and custom graphics." PRG Trailers WebsiteBuilt in 2011 and finished in Black with Aston Martin Historic Motorsport livery, this particular example of the ProSporter XW with roller shutter door has been professionally balanced and recently serviced. It is understood to be 19 feet long and to have an internal bed width of 7 feet 6 inches and is offered complete with loading ramps and wheel straps.
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13371 item(s)/page