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A mid century Indian rosewood glazed display cabinet with lighting, width 133cm, depth 36cm, height 130cm***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A GROUP OF MID-CENTURY LIGHTING, comprising 'The Illumina Globe' by Purnell & Sons Ltd- London, height 53cm, a studio pottery 'Noah's Arc' bedside lamp, a pair of teak table lamps, height 39cm, a teak and copper coloured five arm ceiling light fitting with five original glass shades, a modern USB desk lamp, etc. (12) (Condition Report: all untested, may be in need of rewiring)

A Protector Lamp & Lighting Co, Eccles Manchester, Type MC40 safety lamp, 24 cm (h). [W] PLEASE NOTE: ALL ITEMS MUST BE PAID FOR AND COLLECTED OR DESPATCHED BY WEDNESDAY THE 13TH DECEMBER DUE TO THE HOLIDAY PERIOD.

Tri-ang - A vintage wood and metal two storey six room dolls house with a walled garden base and sliding front facade. The plastic roof lifts off to reveal a battery powered lighting system, the battery holder is rusted. There are some items of Marx plastic furniture inside. It appears in Fair to Good condition overall. (This does not constitute a guarantee) [ba-2] PLEASE NOTE: ALL ITEMS MUST BE PAID FOR AND COLLECTED OR DESPATCHED BY WEDNESDAY THE 13TH DECEMBER DUE TO THE HOLIDAY PERIOD.

A William Moorcroft flambe bowl. With tubelined decoration in a tropical 'floral' design on a red and blue ground, H5cm Condition Report: whilst there is no restoration or chips, after blue lighting it I saw a very small hair line crack to the edge and taptesting it ,I can confirm that but not visible to naked eye . otherwise no further problems

Carl Spitzweg 1808 München - 1885 München Jäger mit Mädchen (Der verliebte Jäger). Um 1848-1852. Öl auf Leinwand. Links unten mit der Signaturparaphe. 33,7 x 24,9 cm (13,2 x 9,8 in). • Wohl eine der frühesten Fassungen des Motivs 'Jäger und Mädchen' im Werk Spitzwegs • Effektvoll inszenierte Szene des ländlichen Liebespaars vor der Kulisse des gebirgigen Hochwalds • Fein und detailreich ausgearbeitete Komposition, die die beiden wildromantischen Charaktere als größere Einzelfiguren besonders in den Blick rückt. Wir danken Herrn Detlef Rosenberger, der das Werk im Original begutachtet hat, für die freundliche Auskunft. PROVENIENZ: Privatsammlung Berlin. Privatsammlung Baden-Württemberg. AUSSTELLUNG: Carl Spitzweg: Reisen und Wandern in Europa und der glückliche Winkel, Seedamm Kulturzentrum, Pfäffikon, 22.9.2002-5.1.2003; Haus der Kunst, München, 24.1.-4.5.2003, S. 152f., Kat.-Nr. 69 (m. Abb.). LITERATUR: Siegfried Wichmann, Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, WVZ-Nr. 1483 (m. Abb.). Siegfried Wichmann, Carl Spitzweg. Jäger mit Mädchen im Wald. Dokumentation, Starnberg-München, R.f.v.u.a.K. 1984, S. 12-19, 24-27, Bayerische Staatsbibliothek, München, Inv.-Nr. Ana 656 SW 19. Das verliebte Paar in der alpenländischen Natur, mit den Figuren des Jägers und der Sennerin stellt eines der schönsten wiederkehrenden Motive in Spitzwegs Œuvre dar. Während seiner zahlreichen Wanderungen im Alpenvorland, den Münchner Hausbergen und Tirol dürfte er diesen beiden als Symbolfiguren idyllischer, freier Ländlichkeit des Öfteren begegnet sein. In seinen Skizzenbüchern finden sich etliche Zeichnungen des Paares, deren Zuneigung er in immer neuen Posen arrangiert. Bereits seit seiner Frühzeit variiert Spitzweg das Thema in kleinen Details und Nuancen: mal findet ein Treffen in der Felsenschlucht statt, mal auf einem Gebirgspfad am kleinen Marterl, im Hochwald oder am Brunnen. Die künstlerische Subtilität Spitzwegs zeigt sich in dem unterschiedlichen Charakter der Begegnungen, die als zufälliges Aufeinandertreffen erfolgen, als Stelldichein in nächtlicher Heimlichkeit oder auch tagsüber bei der mittäglichen Rast, wie die Chronik einer Liebesgeschichte in den Alpen, wenn man alles zusammennähme. Die beiden Figuren und ihre Romanze scheinen ihn nicht nur malerisch nachhaltig beschäftigt zu haben, merkt man doch an den zahlreichen Varianten die theatralische Lust am inszenieren und an der Erzählung. Bei einigen der Gemälde steht die Landschaft im Vordergrund, bei anderen - so wie in diesem Fall - treten die Figuren größer im Vordergrund auf. Sie wenden sich, ganz ineinander vertieft, vom Betrachter ab und spazieren in den dichten Wald, hinter dem man - in ganz Spitzwegscher Manier - einen kleinen Ausblick erhaschen darf auf den hinter den Wolken silbrig schimmernden Mond. Deutlicher als andere Variationen des Themas verortet er die Szene hier im Gebirge, wie es sich in der am rechten Rand eingefügten Felswand zeigt. Außergewöhnlich ist im vorliegenden Gemälde auch die Lichtregie, die wie vor einer Waldbühne von vorne zusätzlich beleuchtet zu sein scheint. Neben die in tupfenhafter und lockerer Malweise in den unterschiedlichsten Grüntönen wiedergegebenen Vegetation und dem Anzug des Jägers setzt Spitzweg im Gewand der Sennerin seinen bevorzugten Farbklang aus rotem Rock, blauer Schürze, schwarzem Mieder und weißer Bluse, zurückhaltend hier jedoch in kleinster und subtiler Dosierung. Die beiden Figuren des Jägers und der Sennerin finden sich auch in einzelfigurigen Szenen in Spitzwegs Œuvre, hier finden sie auf heimlich-romantische Art im Gemälde zusammen. [KT] Aufrufzeit: 09.12.2023 - ca. 13.38 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCarl Spitzweg 1808 München - 1885 München Jäger mit Mädchen (Der verliebte Jäger). Um 1848-1852. Oil on canvas. Lower left with the signature paraph. 33.7 x 24.9 cm (13.2 x 9.8 in). • Probably one of the earliest versions of the 'Hunter and Girl' motif in Spitzweg's work • Effectively staged scene of the rural love couple against the backdrop of the mountain forest • Finely crafted composition, rich in detail, which focuses on the two romantic characters as larger individual figures. We are grateful to Mr Detlef Rosenberger, who examined the original work, for his kind support in cataloging this lot. PROVENANCE: Private collection Berlin. Private collection Baden-Württemberg. EXHIBITION: Carl Spitzweg: Reisen und Wandern in Europa und der glückliche Winkel. Seedamm Kulturzentrum Pfäffikon September 22, 2002 - January 5, 2003; Haus der Kunst, Munich, January 24 - May 4, 2003, pp. 152-153, cat. no. 69 (fig.). LITERATURE: Siegfried Wichmann, Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, no. 1483 (fig.). Siegfried Wichmann, Carl Spitzweg. Jäger mit Mädchen im Wald. Dokumentation, Starnberg-München, R.f.v.u.a.K. 1984, pp. 12-19, 24-27, Bayerische Staatsbibliothek, München, inv. no. Ana 656 SW 19. The love couple in the Alpine countryside, with the figures of the hunter and the dairymaid, is one of the most beautiful recurring motifs in Spitzweg's oeuvre. During his numerous hikes in the foothills of the Alps, Munich's local mountains and Tyrol, he was likely to frequently encounter these two as symbolic figures of an idyllic rural life. His sketchbooks contain numerous drawings of the couple, arranging their affection in ever new poses. Even from his early days, Spitzweg varied the theme in small details and nuances: sometimes a meeting takes place in a rocky gorge, sometimes on a mountain path at a small shrine, in a mountain forest or at a fountain. Spitzweg's artistic subtlety becomes evident in the encounters’ varying characters. A chance meeting, a rendezvous at night in secrecy or during the day at a midday rest, like the chronicle of a love story in the Alps. The two figures and their romance seem to have been a lasting preoccupation for him, and not just in terms of painting, as the numerous variations thereof testify to his joy in staging and telling the story. In some of the paintings, the landscape is in the foreground, in others - as in this case - the figures appear larger in the foreground. They turn away from the viewer, completely immersed in each other, and walk into the dense forest, behind which - in true Spitzwegian style - we catch a glimpse of the moon shimmering silvery behind the clouds. More clearly than inother variations on the theme, he located the scene in the present work in the mountains, as the rock face in right suggests. The lighting is also unusual in this painting, which appears to be lit from the front, as if in front of a forest stage. Alongside the vegetation and the hunter's suit, depicted in a dabbed and loose painting style in various shades of green, Spitzweg uses his preferred color scheme of red skirt, blue apron, black corsage and white blouse as the dairymaid's apparel, albeit in the smallest and most subtle doses. The two figures of hunter and dairymaid can also be found individually in single-figure scenes in Spitzweg's oeuvre; in this painting they come together in a secretly romantic way. [KT] Called up: December 9, 2023 - ca. 13.38 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Paul Hoecker 1854 Oberlangenau (Schlesien) - 1910 München Begütigung. Um 1880. Öl auf Leinwand. Rechts oben signiert. Verso auf dem Keilrahmen mit altem typografisch nummerierten und mit dem Künstlernamen bezeichneten Etikett. 58 x 86 cm (22,8 x 33,8 in). Wir danken der Forschungsgruppe Paul Hoecker, Forum Queeres Archiv München e. V., für die freundliche wissenschaftliche Beratung. Das Werk ist im Werkverzeichnis registriert. PROVENIENZ: Privatsammlung Schweden. AUSSTELLUNG: Internationale Kunstausstellung, Städtischer Kunstpalast, Düsseldorf, 1.5.-23.10.1904, Nr. 774. Große Berliner Kunstausstellung, Glaspalast am Lehrter Bahnhof, Berlin, 1903, Nr. 381 (verkäuflich, m. Abb.). LITERATUR: Heinrich Frauberger (Hrsg.), Internationale Kunst- u. Grosse Gartenbau-Ausstellung Düsseldorf 1904, Düsseldorf 1905, S. 200 (m. Abb.). Die Kunst-Halle. Zeitschrift für Kunst und Kunstgewerbe, Jg. 9, Nr. 3, 1904, S. 41 (m. Abbildungsbeilage). Paul Hoeckers Werk ist in erster Linie dem Realismus und der in bürgerlichen Kreisen erfolgenden Renaissance holländischer Szenen verpflichtet, die sich großer Beliebtheit erfreuen. Sein Schaffen zeugt von meisterhafter Beherrschung der Technik und zeichnerischen Qualitäten, zu denen eine stimmungsvolle Lichtregie hinzukommt. Hoecker besucht zunächst die Münchner Kunstakademie und begibt sich nach Abschluss des Studiums 1882 nach Paris, von dort aus nach Holland, was vor allen Dingen in den Motiven des Frühwerks einen bleibenden Eindruck hinterlässt. In München steht er in Kontakt mit Fritz von Uhde und Max Liebermann, zu dieser Zeit ebenfalls noch vom Realismus holländischer Prägung beeinflusst. 1891 wird er in München zum Professor an die Kunstakademie berufen und übernimmt die Historienklasse von Friedrich August von Kaulbach. Seine fortschrittlichen Lehrmethoden, bei denen er auch die Freiluftmalerei bei Ausflügen an die Münchner Seen mit einbezieht, lassen sein Atelier bald zum Zentrum einer Aufbruchsstimmung werden. Prägend wird seine Lehre für spätere Scholle-Mitglieder wie Leo Putz. In Hoeckers Atelier entstehen die an niederländische Genremalerei, allerdings im großen Format, erinnernden häuslichen Interieurszenen. Größte Aufmerksamkeit widmet er dabei den Materialitäten wie dem Glanz der Kacheln, den Stoffen der Gewänder und den Reflexen des Feuers im Kamin. Als Kulisse dient ihm dabei die Feuerstätte in seinem eigenen Atelier, wie es sich auf Fotos aus dem Nachlass erhalten hat. Von den Altmeistern übernimmt er die Lust an der stofflichen Beschreibung sowie die feine Beobachtung menschlicher Verhaltensweisen. [KT] Aufrufzeit: 09.12.2023 - ca. 14.03 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONPaul Hoecker 1854 Oberlangenau (Schlesien) - 1910 München Begütigung. Um 1880. Oil on canvas. Signed in upper right. With an old label on the reverse, typographically numbered and inscribed with the artist's name. 58 x 86 cm (22.8 x 33.8 in). We are grateful to the research group Paul Hoecker, Forum Queeres Archiv Munich e.V., for the kind expert advice. The work is mentioned in the catalogue raisonné. PROVENANCE: Private collection Sweden. EXHIBITION: Internationale Kunstausstellung, Städtischer Kunstpalast, Düsseldorf, May 1 - October 23, 1904, no. 774. Große Berliner Kunstausstellung, Glaspalast am Lehrter Bahnhof, Berlin, 1903, no. 381 (for sale, fig.). LITERATURE: Heinrich Frauberger (ed.), Internationale Kunst- u. Grosse Gartenbau-Ausstellung Düsseldorf 1904, Düsseldorf 1905, p. 200 (fig.) Die Kunst-Halle. Zeitschrift für Kunst und Kunstgewerbe, vol. 9, no. 3, 1904, p. 41 (fig.). Paul Hoecker's work is primarily indebted to Realism and the renaissance of Dutch scenes in bourgeois circles, which enjoyed great popularity. His work demonstrates a masterful command of technique and graphic qualities, to which he adds atmospheric lighting. Hoecker first attended the Munich Academy of Art and, after completing his studies in 1882, went to Paris and from there to Holland, which left a lasting impression, especially in terms of motifs of his early creative phase. In Munich, he was in contact with Fritz von Uhde and Max Liebermann, who were also still influenced by Dutch Realism at the time. In 1891, he was appointed professor at the Academy of Fine Arts in Munich and took over Friedrich August von Kaulbach's class. His progressive teaching methods, which included plein-air painting sessions on excursions to the Munich lakes, soon made his studio the center of a positive atmosphere of departure. His teaching would have a formative influence on later Scholle members such as Leo Putz. In Hoecker's studio, he created domestic interior scenes reminiscent of Dutch genre painting, albeit in a large format. He paid great attention to the materials and their properties, such as the shine of the tiles, the fabrics of the robes and the reflections of the fire in the fireplace. The fireplace in his own studio, as photographs in his estate show, served as the backdrop. What he inherited from the Old Masters was the pleasure he took in describing material and the subtle observation of human behavior. [KT] Called up: December 9, 2023 - ca. 14.03 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Paul Baum 1859 Meißen - 1932 San Gimignano Dünen Weg (Vormittag-Sonne). Wohl 1894/95. Öl auf Leinwand. Rechts unten signiert. Auf dem Keilrahmen auf einem Klebeetikett nochmals signiert sowie betitelt. Auf dem Keilrahmen von fremder Hand datiert '1892'. 53,5 x 43,3 cm (21 x 17 in). Die Authentizität der Arbeit ist von Herrn Dr. Wolfram Hitzeroth, Paul Baum Archiv, Marburg, im April 2009 mündlich bestätigt worden. PROVENIENZ: Sammlung Dr. Marré, Gladbeck. Privatsammlung Norddeutschland (seit den 1930er Jahren in Familienbesitz). Bevor sich Paul Baum seiner gemäßigt divisionistischen Malweise zuwendet, stehen seine Arbeiten ganz unter dem Einfluss des Impressionismus und der Plein-air-Malerei des 19. Jahrhunderts. Ursprünglich hatte er an der Dresdner Kunstakademie beim Großmeister der Landschaft, Friedrich Preller studiert. Als er 1894 bei einem Aufenthalt im belgischen Knokke Camille Pissarro und Theo van Rhysselberghe persönlich kennenlernt, hinterlässt deren divisionistischer Stil prägenden Einfluss. Im selben Jahr kehrt er wieder zurück nach Dresden und schließt sich dort der Sezession an, es entstehen auf dem Land in Goppeln bei Dresden seine ersten im pointillistischen Stil ausgeführten Werke. Baum scheut in seinen Landschaften die grellen Gegensätze, weder die Himmel noch die Landschaften haben spektakuläre Lichtereignisse. Es ist die Harmonie einer Landschaft unter etwas diffusen Lichtverhältnissen, die Paul Baum visualisiert. Die zarten Valeurs in unglaublich differenzierten Farbabstufungen formen ein Bild ruhiger Gelassenheit, in der die Landschaft sich selbst genügt. Es bedarf einer hohen Sensibilisierung des Auges, um sich in die Landschaften des Künstlers einzusehen; das Ergebnis ist dafür umso reicher. Paul Baum ist einer der wenigen deutschen Spätimpressionisten, die uns ein in sich geschlossenes malerisches Œuvre hinterlassen haben, das in seiner eigentlichen Bedeutung erst spät erkannt wurde. Aufrufzeit: 09.12.2023 - ca. 14.24 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONPaul Baum 1859 Meißen - 1932 San Gimignano Dünen Weg (Vormittag-Sonne). Wohl 1894/95. Oil on canvas. Signed in lower right. Once more signed as well as titled on an adhesive label on the stretcher. Dated '1892' on the stretcher by a hand other than that of the artist. 53.5 x 43.3 cm (21 x 17 in). This work's authenticity was kindly confirmed orally by Dr. Wolfram Hitzeroth, Paul Baum Archive Marburg, in April 2009. PROVENANCE: Collection of Dr. Marré, Gladbeck. Private collection Northern Germany (family-owned since the 1930s). Before Paul Baum turned to his moderate Divisionist style of painting, his works were entirely under the influence of 19th century Impressionism and plein-air painting. Baum shied away from glaring contrasts in his landscapes; neither the skies nor the landscapes evince spectacular light events. Paul Baum visualizes the harmony of a landscape under somewhat diffuse lighting conditions. The delicate values of incredibly differentiated color gradations form an image of calm serenity, in which the landscape is sufficient unto itself. It takes a highly sensitized eye to fathom the artist's landscapes; while the reward is all the richer. Paul Baum is one of the few German late Impressionists who have left us a self-contained painterly oeuvre, the real significance of which was only recognized belatedly. Called up: December 9, 2023 - ca. 14.24 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Gustav Wunderwald 1882 Köln - 1945 Berlin An der Heerstraße. 1918. Öl auf Leinwand. Links unten signiert. 76 x 90 cm (29,9 x 35,4 in). [AR]. • Frühes, nächtliches Straßenbild, das seinen besonderen Reiz durch die bühnenartige Beleuchtung und das Spiel von Licht und Schatten erzielt. • Nach seinem Einsatz im Ersten Weltkrieg entwickelt sich Wunderwald zu einem wichtigen Vertreter der Neuen Sachlickeit und gilt als Chronist des Berliner Großstadtlebens. • Ausgestellt in der postumen Retrospektive in der Berlinischen Galerie und der Städtischen Galerie Albstadt anlässlich des 100. Geburtstags des Künstlers. Wir danken Frau Hildegard Reinhardt für die freundliche, wissenschafltiche Beratung. PROVENIENZ: Privatbesitz Sindelfingen. Kunsthandel Werner Fischer, Berlin (verso m. Etikett). Privatsammlung Niedersachsen (von Vorgenanntem erworben). AUSSTELLUNG: Neue Sachlichkeit - 12 Maler zwischen den Kriegen, Galerie von Abercron, Köln, 12.3.-3.5.1975, Kat.-Nr. 17 (m. Abb. S. 14, verso m. Etikett). Gustav Wunderwald. Gemälde, Handzeichnungen, Bühnenbilder. Eine Ausstellung zum 100. Geburtstag des Künstlers, Berlinische Galerie, Berlin 20.8.-10.10.1982; Städtische Galerie Albstadt, 21.11.1982-2.1.1983, Kat.-Nr. 36. LITERATUR: Hildegard Reinhardt, Gustav Wunderwald (1882-1945). Untersuchungen zum bildkünstlerischen Gesamtwerk, Hildesheim 1988, Kat.-Nr. WV 38 (mit SW-Abb. S. 324). Aufrufzeit: 09.12.2023 - ca. 19.22 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONGustav Wunderwald 1882 Köln - 1945 Berlin An der Heerstraße. 1918. Oil on canvas. Signed in lower left. 76 x 90 cm (29.9 x 35.4 in). [AR]. • Early, nighttime street scene, the stage-like lighting and the play of light and shadow make for its special appeal. • After he had served in World War I, Wunderwald became an important representative of New Objectivity and is considered a chronicler of Berlin city life. • Exhibited in the posthumous retrospective at the Berlinische Galerie and Städtische Galerie Albstadt on the occasion of the artist's 100th birthday. We are grateful to Mrs Hildegard Reinhardt for her kind expert advice. PROVENANCE: Private collection Sindelfingen. Art dealer Werner Fischer, Berlin (with the label on the reverse). Private collection Lower Saxony (acquired from the above). EXHIBITION: Neue Sachlichkeit - 12 Maler zwischen den Kriegen, Galerie von Abercron, Cologne, March 12 - May 3, 1975, cat. no. 17 (illu. p. 14, with the label on the reverse). Gustav Wunderwald - Gemälde, Handzeichnungen, Bühnenbilder - Eine Ausstellung zum 100. Geburtstag des Künstlers, Berlinische Galerie, Berlin, August 20 - October 10, 1982, Städtische Galerie Albstadt, November 21, 1982 - January 2, 1983, cat. no. 36. LITERATURE: Hildegard Reinhardt, Gustav Wunderwald (1882-1945). Untersuchungen zum bildkünstlerischen Gesamtwerk, Hildesheim 1988, cat. no. WV 38 (black-and-white illu. on p. 324). Called up: December 9, 2023 - ca. 19.22 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

THREE MINER'S SAFETY LAMPS, including 2x Type S1 lamps by The Protector Lamp & Lighting Co. Ltd. with brass labels numbered 22 and 74, and an earlier Naylor-type lamp (3)Provenance: private collection Vale of GlamorganComments: generally worn and polished.

A pair of Celestion speakers, together with three Kam stage spotlights and a quantity of stage lighting colour gel and diffuser.

A Master Pro 3KW heater, 4 other heaters/fans, two lighting boards and two roof racks

1983 Honda ATC (all terrain cycle). 250R Trike. The trike is original and has had no modifications made to it. Runs on 2 stroke air cooled 247cc, 5 speed manual clutch, the final drive is chain driven.Has a 12volt lighting system in working order. Headlight included but damaged and is not attached. With hydraulic disc brakes and hill start assist. Four previous owners. It has age related marks and patina. It starts and runs well at idle and at high speed in all gears. Brakes need an overhaul and general service is needed. Tyres are in good condition. This Honda ATC was built from 1982 to 1986. Please note that buyers premium on cars and motorbikes in this sale is at 10% plus VAT (total 12% inc. VAT) and subject to a minimum of £100 plus VAT, on this lot. To satisfy your knowledge of the vehicles condition please come down to our viewing days as follows before the auction on day on 8th December. Saturday 2nd December: 10am - 2pm, Monday 4th December: 9am - 5pm, Tuesday 5th December: 9am-7pm, Wednesday 6th December: 9am-5pm, and Thursday 7th December: 9am-5pm.

MAN OF THE WORLDFull Bleed One-Sheet, (26.25" x 40")Fine+ on Linen Paramount, 1931This is the only extant copy of this poster that we are aware of. It is a glowing image of Carole Lombard and William Powell. Interestingly, the source image for the artwork depicts Lombard with a cigarette in her hand and Powell is lighting with a match emitting the glow. The artist decided to omit the cigarette.Prior to restoration, this poster had previous issues including light crimping, chipping, and fold and cross-fold wear. There have also been sporadic touch-ups including to the P in Powell, the area under Powell's tie and fold lines, plus there has been painting to the black background in the upper left. Now on linen, the poster displays very well.William Powell stars in this romantic drama as a caddish novelist based in Paris, France, who is blackmailing the uncle of a young American woman (Carole Lombard) and whose dark intentions extend to starting a relationship with her when she arrives in the city. This is a fantastic portrait of Carole Lombard and William Powell from their first onscreen team-up. In real life, Lombard and Powell would soon become husband and wife.This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.

D'Allemagne, Henry-Rene - 'Histoire du Luminaire Depuis L'epoque Romaine Jusqu' au XIX Siecle' [History of Lighting from Roman times to the 19th century], 1st Edn, Publ. Alphonse Picard, 1891, with full page monochrome plates, and a hand-coloured illuminated frontispiece, in quarter vellum binding and figured boards

Dinky Group of Roadside Accessories - including 771 International Road Signs complete with information leaflet; 778 Road Repair Warning Boards; 787 Lighting Kit; 754 Pavement Set (unchecked for completeness) and 2 x 765 Road Hoarding (one of which has the signs applied, the other with unused signs in original factory greaseproof packet - generally Good Plus to Near Mint in Fair to Good boxes. (6)

A Quantity of Trackside/Layout Electric Wiring, Lighting, Stop Lights, etc, (various gauges), including boxed items by VEB Plasticart (approximately fifteen) and a four lamp boxed set by Miniatuder, over condition playworn to new.

A VINTAGE ENAMEL WALL MOUNTED STREET LAMP BY BENJAMIN ELECTRICAL MANUFACTURING AND ANOTHER SIMILAR BY SIMPLEX LIGHTING, MADE FOR THE AMERICAN MARKET, PREDOMINANTLY FOR GAS STATION FORE COURTS.

Sega: A Sega Mad Money, operating on 3d, one arm bandit, vintage coin operated amusement machine. Plays and pays out. Mad Money reels and illuminated top box. LED lighting, good chrome. Some coins included. Complete with back door and cash box. Door has replacement lock & key. Fully working but buyer should have electrics tested before use. Measuring approx. 43cm width, 83cm height, 47cm depth. Please assess photographs.

Large box of Marklin HO accessories, bridges, lighting, level crossings, all HO grade

Hoyningen-Huene, George -- "Horst Torso, Paris". 1931/printed later. Rotogravure mounted on board. 21 x 23 cm (34,2 x 36,8 cm). Dated, titled and annotated by another hand in pencil on mount verso. George Hoyningen-Huene, a pioneering fashion photographer known for his innovative approach blending art, sculpture, and classicism, left an indelible mark on mid-20th-century fashion photography. In this portrait of fellow fashion photographer Horst P. Horst, Hoyningen-Huene highlights elegance, aesthetics, and avant-garde sensibilities, employing classical allusions and dramatic lighting to craft sculptural depth and three-dimensional impact. – Some very light scuff marks more visible in raking light, otherwise in near excellent condition. Lit.: William A. Ewing. The Photographic Art of Hoyningen-Huene. London 1986, ill. pl. 58.

[*] Riefenstahl, Leni -- Self-portrait. Circa 1930. Vintage gelatin silver print (photo postcard). 11 x 8 cm (14 x 9,2 cm). Signed by the photographer in the negative in lower margin. This self-portrait captures Riefenstahl in a somber and dramatic style that mirrors the intense lighting seen in her later cinematic works. While her artistic talents were evident, her association with the Nazi regime and her role in propaganda filmmaking remain subjects of significant debate and criticism. – Corners slightly bumped, minimal mirroring along edges of print, otherwise in very good condition.

Jacob de Wit (Amsterdam 1695-1754)A sketch of Aurora with putti oil on canvas30.9 x 36cm (12 3/16 x 14 3/16in).Footnotes:ProvenancePrivate Collection, UKIn this small but confident and fluid sketch Aurora is seen holding aloft the torch with which she is lighting the dawn sky. Jacob de Wit used this study, in reverse, for the central figure of the large ceiling decoration that he painted for Herengracht 475 in Amsterdam and which is still in situ today. The house is now the headquarters of the Vereniging Hendrick de Keyser, the association for the preservation of historic houses in The Netherlands. As one of the great decorative artists of early 18th century Holland, de Wit was commissioned to paint many such ceilings in patrician homes and used them as a vehicle to show off his facility for painting 'dal sotto in su', the dizzyingly foreshortened figures appearing to fly high above the viewer. His mythological, allegorical or historical subjects painted in this trompe l'oeil technique were greatly in demand by fashionable society and his works decorated many grand houses in Amsterdam. Interestingly the RKD records a drawing by de Wit in the Rijksprentenkabinet, Amsterdam after Gianantonio Pellegrini (1675-1741) which de Wit has signed but in which he acknowledges his debt by inscribing it 'Pellegrini invt' (RP-T-1898-A-3750). It bears a striking similarity to the pose (in reverse) of Aurora in the present work, and it perhaps gives some insight into de Wit's influences, as the Venetian artist had visited Amsterdam around 1715. Whilst the conceit of large-scale works is impressive, it is often in small sketches that one best appreciates the technical abilities of an artist, as this study demonstrates.For further information on this lot please visit Bonhams.com

A collection of mechanical and sliding magic lantern slides, of various subjects such as jester dancing, soldier lighting a cannon, child on a swing, and others, together with two projectors

The Dolls House Emporium vintage dolls house Furniture to include satin cream sofa, lighting Clocks bureau and robes and a sauna etc -most are in the original cello packs as shown ( quantity)

Woolley House, a mid 20th century dolls’ house, the white painted house with sun crest pediment, nine windows and front porch to the left side, rear elevation with clock set in pediment, central balcony and French doors and nine windows, a further door on each end, paper slate tiled roof with two chimneys, front and rear opening, the front to reveal hallway with wooden stair case and landing, a large drawing room and the master and mistress of the house bedrooms, the rear to reveal a servant’s hallway, kitchen, dinning room, nursery, nursery hallway, water closet and bathroom, all decorated in the turn of the 20th century style with internal doors and electric lighting, well furnished with late 19th and early 20th century furniture and chattels including a Westacre table top bookcase, a red Chinoiserie long case clock and a writing desk, ten bisque shoulder head dolls, mainly in original clothes, a hat box sweet container, a gilt metal stand with three shell dishes, some transfer printed paper furniture, a Waltershausen writing desk and six pieces of Schnegass furniture —40 1/2in. (103cm.) wide x 23 3/4in. (60cm.) deep x 26 1/4in. (67cm.) high (slight damage) - purchased from an antique shop off the Finchley Road in the early 1980s.

A box of assorted china wares to include a pair of Japanese onion shaped vases with crane decoration, an early 20th Century part tea set together with a box of assorted metal and treenwares, a log basket containing various pictures and a wooden box containing various placemats etc, a suitcase, various lighting, DVDs etc and an artificial Christmas tree

A pair of blue ground vase table lamps with floral spray panel decoration raised on a brass foot in the Victorian manner 35 cm high including fittings, a pair of Goodson Lighting Ltd hexagonal blue ground vase table lamps 29 cm high including fittings and a brass picture light, together with a box containing a pair of urn-shaped onyx lamps with heavily carved fruit and vine shades/covers, pair of metal twin branch sconces (2 boxes)

A Thule towbar 2 bike carrier with lighting board

Eric Clapton - four original long sleeved tour tops to include a 1994 Upstaging Inc Lighting and Transport tour jumper, a 1995 European Tour zip-up hoodie, a 1990 Journeyman Tour jumper and one other (4)

Selection of PA and lighting equipment to include a Yamaha MG12/4 mixing console, VXA-1200 professional amplifier and SPLEQ Series 700 amplifier within a fitted rack unit; Gear4Music PM-12HA wedge monitor and a selection of lighting spotlights *Please note: Gardiner Houlgate do not guarantee the full working order of any electrical items. Do not assume that this lot or any other electrical item is fully working. Please ask for a condition report before placing any kind of bid

Lighting for Portraiture by Walter Nurnberg. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

Miners lamp by The Protector Lamp Lighting Co Ltd, Eccles

AFTER A DE RANIERI; a French spelter table lamp modelled as a boy lighting a pipe, height 26cm.

A modern Georgian style dolls house, with two front opening doors, containing six rooms with furnishings, figures, and electric lighting, together with a dolls shop, containing two rooms, furnishings, and accessories, etc. House, dimensions, 88 cm, high, 86 cm, wide, 44 cm deep, short dimensions, 62 cm, high, 36 cm wide, 36cm deep

Hornby Skaledale lighting and other accessories.

A GROUP OF LIGHTING RELATED ITEMS, comprising a pair of three sconce brass candelabra, a brass finish modern table lamp with shade to be constructed (appears as new, untested), four white glass globe-style light shades, five amber and three green glass conical shades, five other glass shades (20 + shade parts) (Condition Report: generally good condition, some of the shades have small chips/fleabites to edges, waxy residue to candelabra, lamp untested, dusty)

TWO BOXES OF ELECTRICAL ITEMS including three types of 12v lighting power supplies, three LED interior lights, a van LED light, two 'Push to Exit' panic buttons, a quantity of screw fit light pendants etc

Luxform lighting dual powered wildlife lamp post, black hanging baskets, wall porcelain plant pot

Peter NELSON "TA Spot" Aluminium Stehleuchte Ausführung Archirectural Lighting Company", um 1960, Aluminiumstange mit 2 verstellbaren Spots, runde Bodenplatte, H 140cm, am Boden gemarkt "Made in England", Funktion ungeprüft und ohne Gewähr

A box of 'OO' gauge model Railway buildings, some with 12v electric lighting.

19TH C. BRITISH SCHOOL,watercolour and bodycolour - Fisherman lighting his pipe, 55 x 40cmsProvenance: local charity donationComments: framed ready to hang.

19 Carded ' The Dolls House Emporium ' Electric Light dolls house accessories (unopened), 5 further bagged / carded dolls house accessories, and a quantity of unboxed dolls house accessories (mostly lighting)

Indonesian blow pipe with carved wood quiver cont. darts, 2 ornately decorated dart quivers, a friction fire lighting kit in 2 bamboo holders and a fish hunting spear with barbed metal blade

An attractive vintage German Caboose lantern with fitted modern mains powered lighting. Height approx 45cm with stowed handle.

An Anglepoise Lighting limited workbench lamp, and another desk lamp (2).

DAVID HUNT LIGHTING - A pair of Reclamation Pendant light fittings. Diameter 42cm.

Ephemera, Home Front, WW1 and WW2, a selection of 70+ items to include Air Raid Precautions Handbooks (4), Ration Books, 'The Household Fuel & Lighting Order 1918' flyer, 1939 Anti-Gas Training certificate, Ministry of Food Bread Waste bookmark, pamphlets to include 'How To Stock Your A.R.P. Larder', Civil Defence pamphlets 'Your Food In Wartime', 'Masking Your Windows', 'Evacuation Why and How?', 1939 A.R.P. Bleach Ointment flyer etc. (gen gd)

A post-Regency Old Sheffield Plate four-piece table lighting suite, comprising of a pair of three-light candelabra and a pair of candlesticks, with scroll and acanthus leaf cast sconces, waisted conforming stems and loaded bases, the candelabra 52cm high, 40cm wide, the candlesticks 30.5cm high (4)

A quantity of items associated with amusement machine games, including a large perspex display board, "Rio Carnival", L180cm, a small perspex display board, "Frenzy Express", and 2 light-up plastic carnival lighting displays

A quantity of lamps and lighting to include a pair of modern table lamps styled as Seahorses, a pair of Rococco gilded style twin branch wall sconces and a tall iron work table lamp

A rare mid 18th Century Dutch silver miniature or toy lighting suite: a pair of silver candlesticks, on canted square bases with “well” centres and knopped, baluster columns, with matching silver snuffers stand, and matching silver scissor snuffers, each piece initialled "B" to match, by Arnoldus van Geffen, Amsterdam 1753, (the candlesticks fully marked, the snuffers and stand unmarked), the candlesticks 4 cm high, 1.6 oz. (4)

A print of an image by photographer John Rowlands depicting David Bowie onstage Feb 26th 1976 in Toronto, Canada at Maple Leaf Gardens. Signed by John Rowlands. Measures 17x22". Excellent condition, printed onto fine art paper."This iconic image of David Bowie as The Thin White Duke was taken by renowned Rock photographer, John Rowlands, on February 26th, 1976, at Maple Leaf Gardens in Toronto, Canada. Having seen the previous evening’s show on the 1976 Station To Station tour, Rowlands was primed to capture the image of Bowie as The Archer while the singer was preparing to fire his imaginary bow and arrow. The pose was used as a signal for Bowie's lighting engineer to kill the lights. The picture was taken moments before the lights were killed. Rowlands took the shot about 30 feet away from the stage and he credits his Hasselblad camera for producing an image that is striking in its sharp tonal range of whites, blacks and grays".

Brass and steel miner's safety lamp by Thomas & Williams, Aberdare, together with another by Protector Lamp and Lighting, Eccles

Various lighting and shades

Christofle Gallia mid 20th C silver plated cocktail shaker with lower ribbed decoration (26cm high), together with a Dar Lighting frosted glass ceiling light with moulded floral decoration

2005 BAE Vantare Transmission: automaticMileage:35591The BAE Vantare  is the brainchild of actor, television presenter, engineer and former professional footballer, Bradley Walsh. It is rumoured that Mr. Walsh drove a DB5 and wasn't too enamoured by the experience so set about creating a car with super stylish looks and modern day mechanicals. Hence the BAE Vantare was born.Based on a 2005 Aston Martin DB9 the car was stripped to the chassis and rebodied with the exquisite design named the Vantare. Clearly styling was a massive focus point on this project and it would appear the professional design and manufacturing team interpreted Mr Walsh's brief with enormous attention to detail. Often cars designed in low numbers can be disproportionate in their shape. This is not the case with the BAE Vantare. The curvaceous lines of this delightfully handsome car will ensure admiring glances from every angle. Under the bonnet is the well tried and tested 6.0 V12 powerplant of the DB9, ensuring performance, a sonorous sound track and power all in one package. We are informed state of the art materials were used in the make-up of this coachbuilt car including the bodywork in carbon fibre composites. LED lighting adorns the exterior and the metallic grey (Silver Birch esq) paintwork is in excellent order. Open the door and a host of buttons and knobs welcome the occupants. Drive is selected by push button and the re-designed dashboard incorporates a large display screen. The uniquely trimmed seats have been crafted very well as has the steering wheel, embossed with the Vantare logo.713 XUK was chassis number 001 of the project and was utilised as a publicity and press car.  It is our understanding that the car was very well received and always generates enormous interest on the road. A very limited production run of the BAE Vantare was planned, all bespoke to customer order  and indeed, it is understood that only three cars were manufactured, the last of which sold for £330,000. This is an unrepeatable opportunity to purchase the very first example of this stunning coachbuilt Grand Tourer.Photographs courtesy of TAZ BROTHERTON (www.tazbrophotography.com)Photograph of Bradley Walsh and the BAE Vantare reproduced by kind permission of Steve Camplin

1911 Ford Model T Tourer Transmission: manualMileage:After spending his formative years as a motor manufacturer experimenting with a variety of models, Henry Ford pared the company's range down to just one - the legendary Model T - destined to become the world's first truly mass-produced automobile. Introduced in October 1908, the Model T boasted a simple 100 wheelbase chassis that contrived to be both lightweight and durable thanks to the pioneering use of vanadium steel. The chassis track width of 56 was the same as that of a horse-drawn wagon, thereby enabling the Model T safely to negotiate rutted dirt roads. The engine was a 20hp four-cylinder sidevalve displacing 2,896cc and the transmission a simple-to-use two-speed planetary unit. It is said that throughout the Model T's 19-year production life the thing that changed most often was the price, although in actual fact Ford made detail improvements to the car on an annual basis. Notable early developments were the adoption of electric lighting in 1915, a switch from brass to a black-finished radiator the following year and the option of an electric starter in 1919. By 1915 Ford had ceased to offer a range of colours, settling on just one - black - because the paint dried quicker, although some dealers began repainting cars in brighter colours after receiving them from the factory.This very good Ford Model T Tourer was first registered in May 1911 in Pennsylvania, USA. The car was purchased by the current owner's late father in the late 1980's at the world's largest classic car show and swap meet which is held every year at Hershey, PA, USA. After importing the Model T to the UK he managed to get the DVLA to re-issue the registration number BX 1555 which was the first number issued in Ammanford, Carmarthenshire and to the current owners grandfather. This Ford has had a few upgrades for safety and ease of use, these include fitting rear brakes, mounting a twelve-volt battery under the car, modifying the lights to electric lighting and fitting an electric starter. At this time the black leather seating was replaced and a new black hood was fitted. Finished in red with black wings, this Model T is supplied with a V5C registration document and a handbook. Please note that the registration BX 1555 is not transferable to another vehicle.

A triple spotlight, Led under cabinet lighting and a style light

A large, standard canvas about the native land from Karl Rosen. The landscape of the Baltic Sea is captured, where, against the background of a moving, changeable sky, gray, quiet waters of the Gulf of Riga and a fishing boat are depicted. In the distance of the horizon, sails and a premonition of a low, mournful coast are visible. The changeability of light, rain, floating clouds accurately conveys the atmosphere of the Baltic coast. Large-format paintings with views of the Baltic Sea are a rarity in the work of Karl Rosen. Large format seascapes are of high artistic and collection value. 20th century beginning.Canvas, oil. 112x106 cm. Authors signature in the lower right corner of the painting.Karl Rosen (1864-1934) received his art education in the landscape workshop of the St. Petersburg Academy of Arts from the outstanding Russian landscape painter of his time - Ivan Ivanovich Shishkin. At the same time, he studied with Julius Klever and worked in his workshop. Since 1918, Rosen has been living and working in Latvia, participating in several exhibitions of the Union of Independent Artists, and in 1927 held the only solo exhibition known during his lifetime. Karl Rosen is one of the representatives of conservative academic painting. Consistently focusing only on the landscape, he depicts natural scenes of different seasons, paying special attention to the light and emotional mood of the works. The artist drew inspiration for his works from the traditions of Russian realistic art of the second half of the 19th century. The nature landscapes sensitively conveyed by the author with dramatic and romantic lighting effects were already popular with contemporaries and are highly valued by art lovers. Width: 106cm, Height: 111.5cm, Depth: 6cm, Weight: 20kg, Condition: Good, Material: Canvas, oil