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Lot 130
PRE WAR SCRATCH BUILT LIVE STEAM POWERED MODEL OF A ROYAL NAVY LIGHTING CLASS DESTROYER `H.M.S. LIGHTENING`, of painted wood and tinplate construction, the wood hull painted red and black and grey above the water line, line inscribed brown composition decking having two fore and one aft twin gun turrets, other weaponry including a swivelling bank of five torpedo tubes, pom-pom and anti aircraft gun, large section of decking with single turret and forward control tower removable to reveal the boiler powered by pump action spirit fire burner driving the Stuart `Sirius` twin piston engine the drive the single screw, 4` (122cm) long overall with STAND AND TRANSPORTATION BOX Re: Model Boat Lot No 129 &130 of Capes Dunn Toy Sale 22.5.12 The boilers in the above two lots and the immediate area surrounding were protected from extreme heat with sheet asbestos cladding. This low grade white asbestos has been removed. The boilers, which do not have certificates, have been left disconnected for ease of access for the purchaser to fit suitable replacement heat resistant cladding.
Lot 590
A large three-mile anchor ship’s lantern in copper and glass, English, circa 1910 49cm high, 30cm diameter Provenance British Admiralty ships while at anchor held their position by lighting an Anchor Lantern. Anchor Lanterns have a 360° Fresnel Lens, which gives the light visibility from 2-3 miles all around. The Fresnel lens is the 1822 invention of French physicist Augustine Fresnel who invented a lens that would make his name commonplace along the seacoasts of Europe and North America. Most lenses were handmade and shipped unassembled from France. Others were made in England
Lot 2751
The impressive suite of lounge sofas, chairs, cabinets and lighting designed by David Bristow of Sedley Place Design, London. The suite comprises a pair of sofas in beige corded fabric and a pair of matching armchairs, these have checker wood veneered framing and curved block supports, together with a single grey corded sofa with cushion arms on checker wood veneered frame with curved block feet, a pair of corner low cupboards each of which have a wrought iron mounted lamp, and a pair of foot stools. (See illustration)
Lot 384
Colt Model 1877 Lighting DA Revolver.38 cal., 3.5" round barrel, S/N 103775. Nickel finish with hard rubber grips. Condition: Revolver retains 70% of the original nickel finish with some brown on the backstrap and triggerguard. Grips are good with some evidence of being used and carried on the bottom of the grips.Starting Price: $425
Lot 411
Colt Model 1877 Lighting Revolver, Used by Samuel F. Priest.38 cal., 2.5" round barrel, S/N 4613. Two-line barrel address, etched panel on the right side of barrel, checkered walnut grips. Double case coin silver pocket watch with silver chain with a silver dollar fob. Photograph of the detective that carried the revolver on the inside glued to the lid. Three of his business cards, Samuel F. Priest, 629 Natoma Street, San Francisco and his badge marked Special Ox Police. Condition: Barrel shortened during the period of use. Barrel retains some of the blue finish mixing with brown patina. Cylinder retains 30% of the blue finish mixing with patina. Frame is sharp and crisp with nice patina. Grips are excellent. Watch and fob are excellent. Nice old detective carried revolver and watch.Starting Price: $1500
Lot 697
A 1:8 scale 1984 Volvo F12 Intercooler Tractor Unit by Pocher. A fine factory assembled die-cast model of this most impressive commercial vehicle. Finished in red with white high-lighting, silver bumpers and black mud guards. The cab features opening doors, 3 windscreen wipers, door mirrors, with detailed instrumentation and tan & black seats. The truck has twin headlights, left-hand drive, detailed fifth-wheel coupling, exhaust system, fuel tank and mud-flaps. Registration number AJC123. The model is contained within a clear plastic wooden framed display case, exterior dimensions: 83cm length x 42cm width x 52cm height. VGC. See illustration.
Lot 4
1926 Raleigh Model 14 Bike Year: 1926 Bike Make: Raleigh Bike Model: Model 14 Bike Reg No.: CF 6876 Bike Frame No.: 7751 Bike Engine No.: M1591 Bike Colour: Black The well known Nottingham bicycle manufacturer entered the motorcycle market in 1901 with motorcycle production continuing in a sporadic fashion throughout the pioneer period. During 1920 the company commenced the manufacture of a new in line flat twin, which they followed in 1922 with a range of single cylinder side valve models featuring either two or three speed gearboxes and belt or chain final drive. The new machines quickly established an enviable reputation for their reliability enhanced in 1924 by Hugh Gibson`s successful circuit of the British coast on a combination and Majorie Cottle`s reverse circuit of the same route on a solo. Production continued until 1933 when the company ceased motorcycle production to concentrate on their pedal powered products. This example of the 246cc side valve Model 14 dates from 1926. Equipped with a three speed gearbox and chain final drive it was purchased as a basket case by the vendor in 1987 who undertook its rebuild. The engine, gearbox and magneto were rebuilt as were the hubs, wheels and other cycle parts. The seat was recovered in leather and a new Dunlop Cord tyre was fitted to the rear wheel. New reverse levers were purchased. The frame, forks mudguards and other cycle parts were sandblasted and painted black and a period carbide lighting set was fitted. After completion in 1988 the bike, although a runner, has stood as a centre piece in the reception of an engineering works. It is offered with a buff logbook dating from 1945 and an old Swansea V5. Click Here to view this item on www.i-bidder.com
Lot 6
1960s Ducati Monza Bike Year: 1960s Bike Make: Ducati Bike Model: Monza Bike Reg No.: Un-Reg Bike Frame No.: T.B.A. Bike Engine No.: DM250 96114 Bike Colour: Red / Silver Another illustrious motorcycle manufacturer whose business began by producing clip-on bike engines. And they don`t come much more illustrious than the mighty Ducati concern, commencing in 1950 offering such a product to a transport hungry market. Taglioni`s desirable exotic designs, big thundering race bred twins and exquisite singles grew from these humble beginnings and continue to add to the firm`s prestige to the present day. Early models from the mid sixties suffered a little from cheap finishing issues and maybe undeservedly questionable electrics, perhaps if used in the UK climate at any rate, but overall fine handling and power delivery through 5 speed transmissions were attractions difficult to resist by the discerning enthusiast. Some versions in Giugiaro`s unpopular, squarer, `Euro` trim may now represent the best value for money with no compromise of performance, if you are not fussy about style. Models with the Desmo valve gear beloved of Ducati still command a premium, although little or no improvement in performance was apparent on the smaller models if compared to some of the spring valve variants. For some the 350 Desmo is the best of the lightweight bunch, modern 12v electronics providing improvements to ignition and lighting on most models, particularly this pint size performer, the basis of many race bikes. This Ducati is believed to be a Mk111 Monza 250cc single from the mid-sixties, although no documents are to hand at present. Largely complete, but missing seat and fuel tank, the bike is offered at a low estimate to allow the new owner to complete a very worthwhile restoration, which could result in a most desirable road bike or race replica suitable for track day or parade duties. Click Here to view this item on www.i-bidder.com
Lot 47
1928 BSA M28 Bike Year: 1928 Bike Make: BSA Bike Model: M28 Bike Reg No.: Un-Reg Bike Frame No.: 47699 Bike Engine No.: M14624W Bike Colour: Black / Green Although lacking some of the glamour of the big vee twins and later over head valve sports models the 493cc side valve single, rated at three-and-a-half horsepower and its larger brother, the 555cc four-and-a-half horsepower version, formed the mainstay of BSA`s range during the twenties being equally adept as a solo machine or hitched to a sidecar. They were backed up by an extensive dealer and service network the effectiveness of which was highlighted in 1925 when BSA challenged the ACU to obtain the parts necessary to build-up one of its new 2.5hp models from its dealer network with no complete assemblies being purchased. With the parts duly purchased a machine was assembled and ridden for 100 miles, unimpressed by this, due, the ACU said, to the machine being a contemporary model, the ACU were requested to repeat the process by BSA, obtaining the components for a 1914 557cc single with the same result after three days and five hours assembling the machine! This example of the 1928 M28 500cc single was the subject of a full restoration carried out during 2011 which has seen it returned to a beautiful condition. It is offered complete with a full acetylene lighting set. Click Here to view this item on www.i-bidder.com
Lot 397
The Ghost Train, A fairground gambling sideshow with lighting up destination boards. the train stops at random at stations, in manner of roulette wheel, The destination board labelled Mechanical Novelty Company, Audenhsaw, Manchester. The wooden circular structure with a drum base, 1930`s with a box of places, parts, large quantity of destination tickets etc
Lot 579
(lot of 2) Mid Century lighting group, consisting of a peach two arm desk lamp, the adjustable arms rising on a circular base 26"h, together with a turquoise colored hotel lamp having a graduated shade above the rotary telephone base intended for incoming calls, the dial window showing a clock, 18"h x 11"w Start Price $50
Lot 265
DUNHILL "GIANT" TABLE LIGHTER MADE IN ENGLAND PATENT NO: 143752 CIRCA 1930. This vintage and unique 1930s silver plated petrol lighter, measures 105mm in height and 80mm wide. C: Case in very good condition with some light scratches and an inscription. Lighter is striking but not lighting. D: Dial / M: Movement / C: Case / B: Bracelet / S: Strap.
Lot 38
A Stratford Place collectors dolls house featuring a mock Tudor style property with seven rooms over three floors, timber framing, leaded windows and an external balcony feature with an enclosed market area. Originally built from a kit supplied by The Dolls House Emporium (list price £3200 fully built), it is fully lit and decorated, carpeted and includes furniture. It measures 1,179 mm high, 927mm wide and 526mm depth. Vendor advises that the lighting is in full working order. Sold on behalf of the Cardiomyopathy Association, a registered charity.
Lot 547
AN ARMANI CASA STAINLESS STEEL AND OAK DINING CHAIR, DESIGNED BY GIORGIO ARMANI, 20TH CENTURY the tubular open frame back with a plain stainless steel splat, drop-in seat, on square-section legs joined by a three-quarter stretcher; and Another, with a wooden seat, with maker`s mark Giorgio Armani is one of Italy`s most famous fashion designers. From clothing to accessories, lighting to furniture as well as his brand Armani Casa he has shown his flair for design and creativity. 2
Lot 21
* LAGORIO, LEV 1827-1905 Sea Shore. Crimea , indistinctly signed and dated 1891. Oil on canvas, 97.5 by 125.5 cm. "Provenance: Private collection, Europe.Authenticity of the work has been confirmed by the expert V. Petrov.Authenticity of the work has also been confirmed by the expert N. Ignatova.Sea Shore. Crimea dates from Lagorio’s mature period. During this period, he remained consistently Romantic in style, capturing hues in the natural environment evocative of moods and feelings. In the 1890s his work was distinguished by an ability to combine the immediacy of an on-the-spot study with the artifice of colour effects in the best traditions of Romantic and Academic landscape painting. It is the very compositions that included people strolling along the beach which marked the highpoint of Lagorio’s genre landscapes, combining the polish and tranquillity of the Italian school with a more Russian, psychological element.Lagorio — who was among the most talented of the 19th-century landscape, seascape and battle artists — had a special love of the Crimean coast, for he was born in Feodosia, into the family of the Neapolitan Vice-Consul. His childhood on that coast, together with the direct influence of Aivazovsky, who lived nearby, would determine Lagorio’s artistic credo throughout his life. In the late 19th century the Crimea became a Mecca for many Russian artists, having replaced their beloved but distant Italy. His main subject was the seashore and in portraying it he attached particular significance to the rendering of light, aerial perspective and water in its various states. After graduating from the Imperial Academy of Arts, from the class of Maxim Vorobiev and Bogdan Villevalde, and completing a study tour of Europe, he even took a studio for himself in Sudak, where he would often spend the summer months.Sea Shore. Crimea resembles Lagorio’s typical compositional and artistic devices. The rocks are depicted in an extremely realistic way and the strolling couple is typical of Lagorio’s use of staffage in Crimean landscapes. The painting is executed with all the distinctive traits of the artist’s best works — a strong basic composition, decorative but true colouring and effective lighting — and can be considered his benchmark work.When Lagorio painted the present work he was already a revered professor of the Academy of Arts and had behind him hundreds of coastal views which were highly rated by his contemporaries, yet he was still able to preserve a certain freshness in his impression and a sincerity of feeling in his Crimean landscapes. His coastal views, joyous, sunny, animated by a sailing ship on the horizon, by a boat coming in to moor or elegant figures taking a stroll, were so popular with the local high society that the artist decided to devote the whole of his 1893 solo exhibition to landscapes of the Crimea’s southern coast.It was these Crimean works that constitute the lion’s share of the artist’s output, which have come down to us. Certainly, the catalogue for his memorial exhibition, organised in 1906 by Lagorio’s admirers in St Petersburg, lists many views of Kuchuk-Lambat, Yalta, Simeiz, Feodosia, Alushta, Sebastopol and the surroundings of Sudak: Sea Shore. Crimea might well be hiding behind one of their rather uninformative titles."
Lot 27
AIVAZOVSKY, IVAN 1817-1900 Classical Poets on a Moonlit Shore in Ancient Greece , signed and dated 1886, also further signed on the reverse. Oil on canvas, 94 by 146 cm. Provenance: Property of a distinguished Greek family, Istanbul, until the 1950s.Anonymous Sale; The Russian Auction, Stockholms Auktionsverk, 4 October 2007, Lot 47.Acquired at the above sale by the present owner.Private collection, UK.Authenticity certificate from the expert V. Petrov.The work will be included in the forthcoming second volume of G. Caffiero and I. Samarine’s monograph on the artist.In his paintings Ivan Aivazovsky often turned to the subject of great poets, from the classical bards of the ancient world to more recent men of genius — Dante, Byron and Pushkin. Art historians are certain about many of the reasons that impelled the celebrated painter of seascapes towards portraying men of letters. For example, the artist was initially inspired to paint the great Russian poet when the two men met at the Imperial Academy of Arts, and subsequently after discussions with Pushkin’s friend Nikolai Raevsky and plans for an exhibition, marking the anniversary of the poet’s death. It was the mature master’s ideas on the meaning of life and art that found form in the work Dante Shows an Artist Some Unusual Clouds. The occasion of his painting, in 1898, the celebrated Byron Visiting the Mecharist Monastery on San Lazzaro Island in Venice was a flare-up of the Armenian question. However, Aivazovsky’s paintings devoted to the classical poets, works linked by motif and the time of their composition, represent a strange and intriguing, yet still little known, chapter in the artist’s biography.This small group consists of three works: the picture now offered for auction, Classical Poets on a Moonlit Shore in Ancient Greece, Acropolis of Athens in Ancient Times (private collection) and Wedding of a Poet in Ancient Greece (Art Gallery of Armenia, Yerevan). Painted in 1886, all three works are similar in size and all evoke an idyllic atmosphere of Arcadian harmony. However, despite these similarities, it is now hard to establish with any certainty, whether the choice of subject in these works was in response to a commission or simply the fruit of the artist’s unconstrained imagination.Either way, Classical Poets on a Moonlit Shore in Ancient Greece occupies a special place in his antiquity cycle. This heartfelt depiction of a peaceful nocturnal view of a Greek shore is distinguished from its daytime counterparts by a greater integrity. Here the portrayal is less detailed in the delineation of the terrain and its distinctive colouring. Unlike the other two works, in this picture Aivazovsky does not offer the viewer porticos of ancient temples to win them over. We can barely make out, through the gloom of night, the laurel wreaths and togas of the winners in the poetry contest. The poetic face of ancient Hellas is composed of different artistic ingredients.The moon, which has risen over the sea, framed by clouds, watches over the peace and silence of the sleeping, mirror-like surface of the water. The artist has conveyed perfectly the mystery of night, its power to transform the visible world, the close mystical connection between the moon and the sea that reveals itself on this kind of night. The beauty of the moonlight is expressed not only in the colouring of the pale night sky, but also in that of the sea, across which runs the luminous moonglade. The sea and rocks, bathed in spectral moonlight, evoke a Romantic sense of the vastness of the earth’s expanse and the delights with which it is filled.Aivazovsky laboured hard over his depiction of the moon, which he referred to as a “half-ruble moon”. His virtuosity at conveying the effects of moonlight playing on the clouds and the moonglade lying, trembling, on the water surface, became his greatest painting achievement and elicited admiring recognition from the public. Aivazovsky distributes the glitter of moonlight in vivid, bright, rhythmical brushstrokes and splashes, like golden sparks. They are ripples on the calm sea and, at the same time, visual highlights. Here water, light and air fuse into a single element. Light is contained in the demurely cool and elegant grey-blue colour palette. It seems to oscillate with the movement of the water, rolling when it gets to the shore, and the dynamic, curved brushstrokes convey the form of the waves.Air and water — these are the two main elements of nature and for Aivazovsky, following the views of the natural philosophers of antiquity, they are the two basic elements of painting. The sky in his Classical Poets on a Moonlit Shore in Ancient Greece is as informative as is the sea. For the sky tells the viewer in detail about the time of day, the atmospheric conditions and dictates the mood. This aerial ocean, with its currents and its clouds, running into the moon that illuminates the water — this is the area where this artist’s mastery is seen at its most refined.The picture is endowed with a special tonality and appeal to the emotions, thanks to the combination of landscape with a genre motif. Aivazovsky often had recourse to this strategy — much loved by his public — in order to ring changes in his seascapes. When portraying the protagonists in his picture sitting and standing on the rock by the water, the artist applied one of his most effective techniques for nocturnal scenes: he placed his figures against the light. This use of contre-jour gave the composition further dramatic expressiveness. The rock, the boats moving across the water, the water’s edge and the cliffs resemble dark wing flats on a theatre stage. And between these “flats”, in the foreground, we see the poets, deep in conversation, actors in a shadow play. In the distance, behind them, a multi-layered composition of sky and sea opens up, lit by the moon from its diaphanous heights and by subtly elaborated lighting effects.Although Aivazovsky often compared his own creative process with that of poetry, saying that “the subject of a picture comes together in my mind as does a poet’s subject in his”, this canvas shows its real literary subject receding into the background, while the picture is perceived as a harmonious poem of colour and light.
Lot 514
1923 Austin 12/4 Tourer Reg no. SV 9692 Chassis no. 2TT1847 Engine no. 2889 Austin motorcars were manufactured from 1907 onwards. Herbert Austin had previously been general manager of Wolseley, he resigned in 1905 to form his own company. 1922 saw the introduction of one of the company`s second great designs, the Heavy 12/4 model. It featured a side valve mono-block engine of 1661 cc in unit construction with the gearbox and had a plate clutch. The gate-change gear lever and hand brake were centrally mounted. This particular car with original Austin coachwork was exported new to New Zealand, where it remained until re-imported back to the UK in 2003. It is finished in Trafalgar blue with black wings and wheels, and has black deep-buttoned leather to the interior. It still retains the original beaded edge wheels, fitted with 760 x 90 tyres. The spare wheel is mounted at the rear together with a luggage rack. The CAV lighting, dashboard instruments, and early style hub centres are all correct and original. Being an early car it has the lower radiator with a slight up-sweep to the windscreen, which is such an attractive feature. It is believed to be to original specification in all respects. During the present ownership a considerable amount of work has been undertaken including a complete engine strip down and rebuild where necessary. This included re-facing of the cylinder block and cylinder head, refacing of cam followers and adjusting bolts, honing of the cylinder bores, new piston rings, re-cutting new valve seats, fitting new valves and guides, a new timing chain and new bearings for the dynamo drive. The hood, sidescreens, and hood bag have all been professionally re-trimmed to an exceptionally high standard. The car has been driven zero miles since this work has been completed. The engine will require careful `running-in` for the first 500 miles! Paperwork includes numerous past MoT certificates, photocopy of a 1923 owners handbook, a current MoT valid until 23 June 2012 and the current V5C registration document. The car on offer is a delightful early 12/4, much lighter than the later cars and has been known to the Vintage Austin Register for some years, and is well catered for by this club. Click Here to view this item on www.i-bidder.com
Lot 244
A Tri-ang dolls house, 1930`s, wooden construction modelled on the Welsh cottage presented to the Princesses Elizabeth and Margaret by the people of Wales with simulated thatched roof, pebble dashed exterior, front opening to reveal six rooms with staircase and landing and on built garage, battery operated lighting and partially furnished, 47 1/2" wide and 30" high
Lot 246
A Tri-ang dolls house, 1930`s "Stock-broker" Tudor style wooden construction with double gabled roof, integral open garage and side porch with sun dial over, the triple hinged front with painted flowers on the walls, opening to reveal five rooms with staircase and landing, battery operated lighting, 47 1/4" wide and 26" high
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