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Lot 1179
Bowman: brown and cream Model 550 four-axle Non-Corridor Coach 10152, in original wooden box, overall F, sides G, corrosion to fixing pins, box F, green spirit-fired Model 234 4-4-0 Locomotive and Model 250 Tender LNER 4472, with instructions, in original wooden boxes, and LMS Brake Van, F, lacks roof, holes drilled for lighting
Lot 337
LUMIERE LOUIS: (1864-1948) French Filmmaker, inventor (with his brother Auguste) of the cinematograph film camera, making it possible to project film onto a screen for audiences. A.L.S., Louis Lumiere, three pages, 8vo, Morgat, 5th August 1926, to a friend, in French. Lumiere announces `The proposed process is not new; it was patented in a barely different format a long time ago.` and continues `It seems to me of little interest because scintillation, which is null in the black areas of the subject, increases with lighting. Adjusting the luminosity and doubling the numbers of pulses on the retina through complete shut off using the opaque sector of the shutter in the middle of the time when the film is still, said scintillation is imperceptible…it seems to me that the proposed mechanism has very big inertia for intermittent movement and the author appears to have no idea of how difficult it would be to achieve continuous lighting when the light beam goes from the lower path to the higher one. And then, one should not hope to convince movie house owners to change projectors for an insignificant improvement which certainly would not have an impact on their receipts!` A letter of interesting content. Some minor, small splitting at the edges of the folds, G
Lot 72
* Postcard paintings. A collection of ninety-four postcards, 1951-54,. each with a pen, ink & watercolour cartoon-style illustration, some with accompanying ms. verse or speech bubbles, a few with small adhesive tape marks to edges, mostly dated and inscribed on verso ‘To Bunchie’, 84 x 139 mm (3.25 x 5.25 ins) A comical and somewhat bizarre series of drawings, obviously drawn for a young child’s amusement. Most of them feature a tall, skinny (almost clown-like) figure in a blue and white striped shirt, engaged in various pursuits, such as painting a wall, kitchen duties, playing ball, dancing, extracting teeth, manning a sweet shop, sewing, having a bath, boating, lighting fireworks, shopping, etc. A number of other characters make an appearance, including a fairy, a rabbit, a sailor, and a soldier, and many of the activities, more often than not, seem doomed to disaster. (94)
Lot 320
* AIVAZOVSKY, IVAN 1817-1900 Moonlit Night on the Dnieper signed and dated 1887, also further numbered "14271" on the stretcher on the reverse Oil on canvas, 47 by 60 cm. Authenticity has been confirmed by the expert V. Petrov.Authenticity has been confirmed by the expert N. Ignatova. No less than the great shipwrecks and storms, it was quiet, dreamy moonlit nights to which Aivazovsky owed his fame. The intimate work Moonlit Night on the Dnieper, now offered for auction, full of details of daily life, is among the most peaceful and serene works of this group. Without highly-coloured effects, and built on very delicate gradations of a restrained dark blue-green tonality, this work is absolutely characteristic of the 1880s in the oeuvre of this renowned painter of sea views. In the picture Moonlit Night on the Dnieper, alongside subjects which are familiar from other landscapes by this artist — the water surface with a sailing boat, silhouettes of buildings on the opposite bank just visible in the distance, there is an everyday scene, here poeticised but prosaic by daylight, of a ferry crossing. The hilly banks, illuminated by the moon and stars, are full of pulsating life, surprising for such a late hour. At the jetty, people are awaiting the approaching sloop, with its large white sail, and the passengers are unhurriedly loading up. At the water’s edge a cart, yoked with oxen, waits patiently for its driver. A few more oxen, horses and their owners, crowded together, wait by the water. This organic co-existence of elements of genre and landscape painting, and the delicate and emotional colour choices, serve to express the harmony of the simple, natural way of life.A single window in a little cabin by the shore shines with a warm light, a reddish point against a background of cold, spectral moonlight, transforming the familiar, real colours and forms, betraying one of the artist’s favourite devices, the contrasting combination of "two lights: the warm light of lamps in a human abode and the noble, greenish light of the night." Aivazovsky himself acknowledged that he considered such colour effects to be extremely expressive and important. "I believe," he wrote, "that my works can be distinguished, not only when compared to each other but also to many by other artists, by the potency of the lighting, and those paintings in which the main potency is the light of the sun, the moon etc., and also the waves and sea spume, must be considered the best." Thanks to the wealth of details and detailed features, the present picture can safely be attributed to Aivazovsky’s Dnieper landscapes. It is known that the artist had immortalized this great Ukrainian river on several occasions throughout his life. In 1857, he creates the iconic work Reed on the Dnieper near Alioshka, a composition of which he subsequently paints several variations with sailing boats on the banks of the Dnieper. Not long before creating Moonlit Night on the Dnieper, Aivazovsky returns to the theme of Ukrainian landscapes, always including elements of Ukrainian genre scenes. He painted Chumaks in Little Russia, the endless Ukrainian fields with windmills, as well as views of the Dnieper with the typical barges, oxen and huts on the riverbanks.His visual memory, supplemented by his lively imagination, allowed the artist to create in his pictures, without naturalistic accuracy, all the diversity of the emotional states of nature which he had never seen. Aivazovsky acknowledged that, "inspired by the sight of a picturesque location, with striking lighting or in stormy weather, I retain those memories for many years…" Repeating, in its most general lines, a landscape motif from his memory, but adding into it imagined genre scenes, and lighting and mood effects, Aivazovsky often shunned literal verisimilitude. According to Grigory Goldovsky, the author of many publications and catalogues about this artist, "it was his artist’s flair which allowed him to sense the relative significance — of what was crucial and what secondary — in his pictures. Crucial were the striking effect of light, the very particular rhythm. The union of light and air — this is the `keynote`, the mainstay of all his canvases. Superficial authenticity, perspective, the distribution of light, the elaboration of certain parts of the composition — these are secondary." The artist did not vary this principle throughout his life, and Moonlit Night on the Dnieper is the best corroboration of this.
Lot 378
* LAPSHIN, NIKOLAI 1891-1942 Nevsky Prospect signed and dated 1935 Oil on canvas, 56 by 69 cm. Provenance: Collection of V.A. Vlasov, 1942-1950. Collection of Mikhail Lapshin, the son of the artist, Vladivostok, 1950-1978. Temporary collection of the State Russian Museum, with intention of acquisition, 1978-2005. Collection of Nina Lapchina, daughted-in-law of the artist, Vladivostok, 2005-2006. Private collection, Europe.The perception of pre-war Leningrad in the aesthetic context of the new painting has become inextricably linked with the name of Nikolai Lapshin. It may be that he, like no other, was able to convey in his canvases and watercolours, truthfully and extraordinarily poetically, the essence of the humid Petersburg air, the waters of the Neva and the boulevards and town-houses disappearing in a haze of drizzling snow. The silvery range of the artist’s palette is without the slightest injection of "loud" highlights, grating on the eye. The choice of urban locations might not immediately stand out as novel, with expository new departures, but Lapshin’s decision was to shun eye-catching populism. In his schematic delineation, almost lightning sketches, of the magnificent Leningrad architecture, there is no hackneyed, stilted detailing, no winning lighting effects. Lapshin’s Leningrad is "dissolved" in non-specificity: it is dank and grey, but liberated by the artist from the dead weight of ostentation and gloss and thus it lives, smells, breathes. The fact that this is the first appearance of Nikolai Lapshin at a Russian art auction certainly does not imply any lack of interest in this great master. It is the extreme rarity of his work in private collections and the reverence of collectors, jealously guarding his paintings, which make its appearance an especially significant event.
Lot 481
* British Aerospace 146-100 Side-loading Tactical Airlifter. A fine exhibition standard wood and composition static scale model based on the BAe QT cargo aircraft by Space Models, London, with dummy refuelling probe, air opening paratroop sliding door, lifting cargo door with associated swivelling ramp and folding extensions with retractable wheel support, with four-wheel main undercarriage and twin nose wheels, painted in military grey and green camouflage, the detachable main planes with dummy engine pods, 43.25in (110cm) wingspan, complete with numerous models of military stores and accessories including netted equipment boxes on pallets, vehicles, loading crew and other similar models, the aircaft with glazed fuselage panel incorporating internal lighting via a 115 volt/240 volt transformer with fuse arranged to operate from a mains electricity socket, a rare, possibly unique model contained, with accessories in a transit crate, 19.25 x 27.75 x 52.5in (48.8 x 70.5 x 133.3cm) The BAe S.T.A. was one of a number of proposed military conversions of the successful BAe 146/Avro RJ series high wing air liners of which approximately 390 were built. Displayed at the 1989 Paris Air Show and subsequently extensively demonstrated no firm production orders for this aircraft were forthcoming, so this fine model remains as an historic reminder of what may have been. (1)
Lot 673
.- Turnbull (Larry) A series of nine scrapbooks de compiled by Larry Turnbull containing numerous cuttings from periodicals and newspapers and a lighting plot for Tenting Circus 1948 signed with initials by Cyril Bertram Mills some vol. with tickets for performances in London and the provinces pasted inside covers original bindings 4to and large folio 1936-1983. *** The cuttings provide a wealth of information about the circus and its performers over a period of neary fifty years from various magazines and both London and provincial newspapers. Larry Turnbull worked for Bertram Mills as foreman-electrician. Included with the scrapbooks are two reel to reel recordings of Bertam Mills in the first of the BBC “Showmen of England” programmes broadcast in March 1938 the boxes annotated by Cyril Bertram Mills.
Lot 400
Various. HMSO Affairs of the Gold Coast, London 1886, folio, blue wrapper; Holmes (A B) Practical Electric Lighting, 4th edition London 1889, cloth gilt; Hunt (L) The Town, new edition 1893; Barker (K F) Nothing but Dogs, A & C Black 1938, good in dust wrapper; Wood (S) Modern Window Gardening, London 1884; others (10)
Lot 3093
WILKS, Maurice (compiler). An album containing mounted photographs and postcards, a few signed. [N.p.: n.d.] Oblong folio (255 x 300mm.) The majority featuring motorcycles and sidecars, also including a few signatures of speedway racers and a mounted print of Malcolm Campbell lighting a cigarette in Bluebird, signed in blue ink. Contemporary cloth.
Lot 216
An exhibition model of a David Brown 990 Agricultural Tractor, built to approximately one quarter scale by the late Mr L.O. Gibbs of Hailsham, East Sussex. The fully working 50cc engine was designed by the builder having four cylinders with plugs, cylinders being water cooled with pump, overhead valves and overhead camshaft, pressure oil supply to all moving parts, electronic ignition (no contact points) electric self start. It has a three bearing crankshaft, 1in diameter pistons with two rings and one scraper ring, single plate clutch working from gear lever. Gear Box: Three forward gears and one reverse, 4-1 reduction to differential in the back axle. The tractor is fitted with brakes, oil pressure gauges, full lighting and two spot lights for night working, powered from a 1in diameter alternator. Working power take-off pulley. Engine driven oil pump to work hydraulic arms at rear of tractor. The model is finished in David Brown colours and the radiator badge was supplied from the DBTC shop, 63cm high, 53cm wide, 37cm long
Lot 41
Rare 1952 Olympic Games Helsinki photograph album: comprising private and other photographs taken of the British team incl Players leaving Bovingdon Airport, Opening ceremony, Lighting The Flame, A Woman being arrested for trying to address the Assembly, 100 yds final, Zatopek winning The Marathon, Shirley Crawley jumping into 3rd place, Roger Bannister Racing in the 1500m final, Donald Bailey, plus Show Jumping, closing ceremony, Men`s Village, many with had written annotations -in all (50) photographs.
Lot 194
A pair of George IV silver two handled wine coolers, by Matthew Boulton Plate & Co., Soho, Birmingham 1824, each of half fluted campana form on a knopped pedestal circular foot with shell leaf and gadroon borders, with leaf capped reeded loop handles and old sheffield plate liners, and engraved with a coat of arms and crest, 14.75 cm high, 145oz weighable silver (6) The arms are probably those of Crow of Suffolk and an unrecorded crest. Matthew Boulton was an enterprising businessman. When he inherited his father’s buckle and button business, he decided to expand and, in 1765, the Soho Manufactory was built at a cost of £10,000. In addition to manufacturing Old Sheffield Plate and silverware, he began to produce ormolu, often combining this with Blue John. He was instrumental in the Birmingham assay office being set up in 1773. Until then he had to send silver to be assayed at Chester, some 75 miles away, often resulting in items reappearing at his factory damaged. He was the first to register his mark in Birmingham with John Fothergill, his first business partner. Fothergill had good business connections and helped expand the business abroad and at home. They competed with the London retailers by going directly to the client and undercutting them on price. Some of the designs came from James Wyatt in both silver and Old Sheffield plate. Boulton also was friends with Josiah Wedgwood, together they would go ‘curiosity hunting’ in London, visiting patrons’ collections of classical objects. Such was the success of his business, that at one stage Boulton claimed to employ over 1000 workers and attracted visitors from home and abroad, who would take refreshments after their tour and contribute to the Soho Insurance Society. Boulton established this in 1792 to provide sickness benefits for his workers. In 1775 he set up a partnership with James Watt, the Scottish engineer, and developed the steam engine under patent. He also promoted to partnership the engineer, William Murdock, whose experiments with gas lighting led to the Soho factory being illuminated in 1802. He was interested in natural philosophy and had a telescope mounted on the roof of his home, Soho House. He was the cofounder of the Lunar Society in 1766 and was made a Fellow of the Royal Society. Matthew Boulton died in 1809 and the business was continued by the next generation.
Lot 33
An assortment of old photographic equipment, cameras and accessories, including a small Voigtlander Stereflektoscop stereoscopic plate camera, in its leather case; a German Edixa Flex 35mm camera; Agfa Silette 35mm camera, tripod, lighting equipment, several boxes of colour slides, etc. Average GC
Lot 124
A Lionel Railway Set comprising a 242 Locomotive in black (with operating whistle), with four wheel tender, together with a rake of three Pullman Cars comprising two Pullman Coaches in orange with dark red roofs fitted with electric lighting and a 612 electrically lit Observation Car with viewing platform to the rear. The set complete with transformer.
Lot 131
A quantity of boxed Trix Twin railway items in 00 Gauge a boxed Trix Twin railway set comprising five Goods Wagons, a Tender, an incorrect dismantled model locomotive, some electric overhead lighting, several boxes of curved and straight rails together with some points and two transformers and a Trix Twin permanent way manual written by Henry Greenly
Lot 465
SYDNEY F WALKER: ELECTRIC LIGHTING FOR MARINE ENGINEERS, 1906, 4th edn, orig pict cl gt + ADRIAN NEISON: PRACTICAL BOATBUILDING FOR AMATEURS, Ed Dixon Kemp, circa 1905, 2nd edn, orig decor cl gt + NOEL CARRINGTON AND PATRICIA CAVENDISH (EDS): CAMPING BY WATER, intro Sir Peter Scott, 1950, 1st edn, orig cl, d/w + G E BONNEY: INDUCTION COILS A PRACTICAL MANUAL FOR AMATEUR COIL-MAKERS, 1892, 1st edn, orig cl (4)
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13370 item(s)/page