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Click here to subscribeA TERRACOTTA GROUND TABRIZ RUG with red and cream central medallion, cream and dark blue spandrels and dark blue floral borders, 301cm long x 204cm wide Condition Report:Rug is in a good overall condition without any notable signs of wear, the colour would most likely appear darker than what appears in image as we use lighting for photography purposes of course this can be affected by where you would place the rug
◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH WHITE JUG AND PEARS Signed, oil on canvasDimensions:18in x 16in (45.7cm x 40.7cm)Provenance:Provenance: Sotheby’s Gleneagles, Scottish and Sporting Pictures and Sculpture, 2 September 1998, lot 1479, as ‘Still Life with Pears (The White Jug)’Portland Gallery, LondonExhibited: London, Portland Gallery, The Scottish Colourists, 14 June-19 July 2002, no.52London, Portland Gallery in association with The Scottish Gallery, Edinburgh, S. J. Peploe (1871-1935), 7-29 November 2012, no.18, Ill.col.p.29.Note: Still Life with Jug and Pears of c.1925 reveals Peploe’s mastery of the still life genre, which came to maturity in his practice during the 1920s. He summed up his dedication to the theme, even beyond the landscapes and portraits for which he is also celebrated, in 1929, when he declared: ‘there is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end.’[i] The still life was the primary focus of the work made in his longest-serving studio, at 54 Shandwick Place in Edinburgh’s West End. Peploe moved there in 1917 after it was vacated by his friend, the artist James Paterson and maintained it until a move to nearby Castle Street in 1934. The Director of the National Galleries of Scotland, Stanley Cursiter, described it thus: ‘the room had a large, high and well-placed window. The scheme of decoration was…kept in a very light key and he surrounded himself with brilliant colours.’[ii] As Roger Billcliffe has explained: ‘Peploe set himself as a target the perfect still-life painting. It had been his first love and his first serious achievements had been in still-life. His temperament made him ideally suited to the task. His calm reasoning and thoughtful manner enabled him to make a careful analysis of the problems which face the still-life painter and he set about resolving them.’[iii] A sense of this dedication is clear in a description of visiting Peploe in his studio by his niece, Margery Porter: ‘How well I recollect my Mother and myself climbing those steep stairs and arriving panting at the top to ring his bell in fear and trembling lest our climb had been in vain. But usually he would usher us in wearing a white painting coat and a crownless hat…The studio was a large one, round which I would prowl entranced, after strict warnings not to disturb the still-life group which would almost inevitably be covering the table. My uncle would arrange and re-arrange these groups for perhaps three days before he was satisfied that the balance and construction were perfect, then he would paint them quite rapidly.’[iv] Alongside a cast of cherished objects, including jugs, plates, bowls and various lengths of fabric, Peploe would introduce flowers or fruit to his still lifes according to the season. The apples and pears of Still Life with Jug and Pears would suggest that it is an autumnal painting. This caused some consternation amongst the purveyors of such produce, as explained by Cursiter: ‘When he selected his flowers or fruit from a painter’s point of view he presented a new problem to the Edinburgh florists. They did not always understand when he rejected a lemon for its form or a pear for its colour and he remained unmoved by their protestations of ripeness or flavour.’[v] Still Life with Jug and Pears contains all the hallmarks of Peploe’s work of the mid-1920s as he developed from the highly-complex and high-pitched still lifes of earlier in the decade and progressed towards the more raw and expressive style of the early 1930s. There is an overall feeling of dignity in the arrangement, subtle palette and natural lighting of this painting. The depiction of the pears in the foreground is a masterclass in perspective, whilst the warm tones of the apple to the right provide the colour focal point of the composition. Peploe’s enduring interest in the work of Paul Cézanne is clear, for example in the strength of form created by defined planes of colour, particularly in the fruit. Deliberately distinct brushstrokes convey shadow and reflection. The arrangement of objects is asymmetrical yet perfectly balanced, presided over by the jug. The edge of the table on which they are presented is aligned to the lower horizontal plane of the canvas, as Peploe skilfully plays with notions of reality and representation. Moreover, the cropping, such as of the dish on the left, suggests the space beyond the table and the frame. Peploe was to explore these concerns further in works such as the related and slightly later Still Life with Jug and Grapes (The Courtauld, London, acc.no. P.1992.XX.1). In this painting, the same jug has taken centre stage in the foreground, drapery plays a more significant role on the table-top and Peploe has extended the sense of distance by including a covered chair in the background. The poise and classical simplicity of Still Life with Jug and Pears has given way to a less polished vigour. Still Life with Jug and Pears dates from a particularly propitious period in Peploe’s career. During the 1920s his reputation was cemented in Scotland and spread to London, Paris and New York. He had regular solo exhibitions at The Scottish Gallery in Edinburgh and La Société des Beaux-Arts in Glasgow. When the latter business merged with the Lefèvre Gallery in London in 1926, Peploe’s work was also shown there. In 1923, paintings by Peploe, Cadell and Hunter were shown at the Leicester Galleries in London and again in 1925, joined by the work of John Duncan Fergusson. The four artists were celebrated in an exhibition at the Galerie Barbazanges, Paris in 1924, from which a painting by Peploe was acquired for the French national collection. In 1927, he was elected a full member of the Royal Scottish Academy and the Tate acquired one of his still lifes, meaning that he was represented in the British national collection. In 1928 a solo exhibition of his work was staged at the C. W. Kraushaar Galleries, New York and a room was dedicated to his work in the newly extended Kirkcaldy Museum and Art Gallery. Corsan Morton, Curator at Kirkcaldy, summed up Peploe’s achievements of the period in his catalogue foreword: ‘It is in his still lifes, his arrangements of flowers, fruit, utensils and so on, that he has of late years achieved a very definite personal style of great beauty, which places him in a class by himself…He handles with distinction everything he touches.’[vi] [i] As quoted in Stanley Cursiter, Peploe: An Intimate Memoir of an Artist and of his Work, Edinburgh 1947, p.73.[ii] Cursiter, op.cit., p. 41.[iii] Roger Bilcliffe, The Scottish Colourists: Cadell, Fergusson, Hunter, Peploe, London 1990, p.51.[iv] As quoted in Alice Strang et al, S. J. Peploe, Edinburgh 2012, p.23.[v] Cursiter, ibid., p.55.[vi] As quoted in Cursiter, ibid., p.63.
Jacopo Tintoretto, 1518 Venedig – 1594 ebendaDas letzte AbendmahlÖl auf Leinwand. Doubliert.142 x 220 cm.Ungerahmt.Das hier angebotene Werk des Tintoretto ist nicht nur ein kompositorisches Meisterwerk, sondern auch von höchstem Interesse, was die Arbeitsabläufe des großen venezianischen Malers angeht. So ist die vorliegende Leinwand der erste Entwurf für das große Gemälde Tintorettos (221 x 413 cm), welches sich heute in der Kirche San Trovaso am gleichnamigen Platz im Sestiere von Dorsoduro in Venedig befindet und bereits 1584 von Borghini erwähnt wurde: „Nelle cappella del Sacramento di detta chiesa vi sono due quadri, nell'uno quando Cristo lava i piedi agli apostoli, e nell'altro quando cena con quelli...“ Die in der Frühzeit Venedigs, im Jahr 1028, gegründete Kirche stützte in ihrer gotischen Form 1583 ein. Heute befindet sich gegenüber dem Eingang vom Rio de San Trovaso das letzte Abendmahl, das Tintoretto 1559 schuf und das Jacob Burckhardt als zum „gemeinsten Schmaus entwürdigt“ bezeichnete. Es ist die wohl gewagteste Komposition des Themas aus seiner Hand mit schräg in den Raum gesetztem Tisch, umgekipptem Stuhl, gewagten Verkürzungen der in den Raum hineingreifende, wohl vom Wein nicht mehr ganz nüchterne Körper und effektreicher Beleuchtung. Um einen rechteckigen Tisch, auf dem Essen und Wein stehen, sind die zwölf Apostel angeordnet. Jesus, gekleidet in eine rosa-violette Tunika, hat soeben den Verrat durch einen von ihnen aufgedeckt. Die Apostel reagieren auf die Ankündigung und suchen untereinander nach einem Zeichen, das den Verräter zeigt (Mt 26,21; Mk 14,18; Lk 22,21; Joh 13,21). Johannes trägt die gleiche Tunika wie Christus und sitzt neben ihm, den Kopf müde auf den Tisch gestützt. Petrus wendet sich im Stehen an Jesus und erklärt ihm seine Treue. Judas ist vielleicht wohl rechts auf dem Gemälde dargestellt, auf einem Schemel sitzend, einen Teller in der Hand. Im Hintergrund, zwischen den Bögen, stehen zwei flüchtige Figuren, eine Frau und ein bärtiger Mann. Sie sind in lange Gewänder gekleidet und scheinen eine Sibylle und ein Prophet zu sein. In unserer Vorstudie ist ihre Gewandung der Farbigkeit der restlichen Kleider angeglichen, sodass ihre Entrücktheit erst in der vergrößerten Fassung voranschreiten wird. Von der realen Welt des Betrachters, die durch die Offenbarung des Wortes Christi erhellt wird, gehen wir in eine Zeit ante gratiam über, die gerade durch die beiden Figuren verkörpert wird, die die Zukunft erwarten, die sie selbst prophezeit haben.Der Pilaster links der Kapelle ist datiert MDLVI (1556), sodass sich auch für die Kapelle eine Weihung um diese Zeit, vielleicht 1560 bis 1565 ergibt, und somit auch einen Entstehungszeitpunkt für das Abendmahl in der Kirche und auch für unser Gemälde markiert, wobei das hier angebotene Gemälde – zumal eine Vorstudie – etwas früher enstanden sein wird.Ausstellung:Das hier angebotene Gemälde war ausgestellt in: El Greco e l'Italia. Metamorfosi di un genio, Casa de Carraresi, Treviso, April 2016.Literatur:Maria Letizia Paoletti, La prima redazione dell'Ultima Cena di San Trovaso di Jacopo Tintoretto, in: Arte Documento, 35, 2019, S. 52, Nr. 1.Vgl. Michel Hochmann, La giovinezza del Tintoretto: qualche riflessione sullo stato della questione in: La Giovinezza di Tintoretto, hrsg. von Guillaume Cassegrain, Augusto Gentili, Michel Hochmann, Valentina Sapienza, Konferenzschrift, Venedig 2017, S. 3-17.Vgl. Michael Matile, „Quadri laterali“ ovvero conseguenze di una collacazione ingrata. Sui dipinti di storie sacre nell'opera di Jacopo Tintoretto, in: Venezia Cinquecento, VI, 1996, Nr. 12.Vgl. Raffaello Borghini, Il Riposo, Florenz 1584, Nachdruck Florenz 1730.Vgl. Terisio Pignatti, Tintoretto, Mailand 1985, S. 102, Abb. 19.Vgl. Rodolfo Pallucchini, Paola Rossi, Tintoretto. Le opere sacre e profane, Mailand 1982.Vgl. Rodolfo Pallucchini, Inediti di Jacopo Tintoretto, in: Arte Veneta, XXIII, 1970.Vgl. Rodolfo Pallucchini, La giovinezza del Tintoretto, Mailand 1950.Vgl. Adriana Augusti Ruggeri, Jacopo Tintoretto. Portraits, Ausstellungskatalog, Gallerie dell‘Accademia, Venedig, 25. März-10. Juli 1994, Kunsthistorisches Museum Wien/ Gemäldegalerie, Wien, 31. Juli-30. Oktober 1994, Mailand 1994.Vgl. Rosa Joyce Plesters, Lorenzo Lazzarini, I materiali e la tecnica dei Tintoretto della Scuola di San Rocco, in : Paola Rossi, Lionello Puppi, Jacopo Tintoretto nel quarto centenario della morte, Quaderni di Venezia arti, 3,1996, S. 275-280.Anmerkung 1: Druckgrafik: Nach dem letzten Abendmahl von Tintoretto exitiert ein Kupferstich von Aegidius Sadeler, der zum Beispiel im Museum Boijmans van Beuningen, Inv.Nr. L1977/3 verwahrt wird, siehe Vergleichsabb.Anmerkung 2:Eine Vorzeichung Tintorettos für einen der Apostel wird im Kupferstichmuseum Berlin verwahrt (Inv.nr. KDZ5084). (1341011) (3) (13)Jacopo Tintoretto, 1518 Venice – 1594 ibid.THE LAST SUPPER Oil on canvas. Relined.142 x 220 cm.The painting by Tintoretto on offer for sale in this lot is not only a compositional masterpiece but is also of the greatest interest in terms of the working processes of the great Venetian painter. The present canvas is in fact the first sketch for the large painting by Tintoretto (221 x 413 cm), which is now in the church of San Trovaso in the eponymous campo in the Sestiere of Dorsoduro neighbourhood in Venice and was already mentioned by Borghini in 1584: “Nelle cappella del Sacramento di detta chiesa vi sono due quadri, nell’uno quando Cristo lava i piedi agli apostoli, e nell’altro quando cena con quelli...”. The Gothic church, founded in Venice’s early days in 1028, collapsed in 1583. Today, opposite the entrance to the Rio de San Trovaso, is The Last Supper, which Tintoretto created in 1559 and which Jacob Burckhardt described as degraded to the meanest feast. It is probably the artist’s most daring composition of the subject with a table placed at an angle in the room, an overturned chair, daring foreshortening of the bodies reaching into the room, which are no longer quite sober from the wine, and effective lighting. The 12 apostles are arranged around a rectangular table on which food and wine are laid out. Jesus, dressed in a pink and violet tunic, has just uncovered the betrayal of one of them. Responding to the announcement, the apostles search among themselves for a sign of the traitor (Matthew 26:21; Mark 14:18; Luke 22:21; John 13:21). Wearing the same tunic as Christ, John sits next to him, his head resting wearily on the table. Standing, Peter turns to Jesus and declares his loyalty to him. Judas is possibly depicted on the right of the painting, seated on a stool, and holding a plate. In the background, between the arches, are two cursory figures of a woman and a bearded man. They are dressed in long robes and appear to be a sibyl and a prophet. In our preliminary study, her robes match the colours of the rest of the clothes, so that her otherworldliness will only progress in the enlarged version. From the viewer’s real world, illuminated by the revelation of Christ’s word, we pass into a time ante gratiam, embodied precisely by the two characters awaiting the future they themselves predicted. The pilaster on the left of the chapel is dated MDLVI (1556), revealing a dedication of the chapel around the same time, perhaps 1560-1565, and thereby also giving a date of the creation of The Last Supper in the church and for the present painting, whereby the latter – especially as a preliminary study – would have been created a little earlier.Provenance:The painting on offer for sale here exhibited at: El Greco e l’Italia. Metamorfosi di un genio, Casa de Carraresi, Treviso, April 2016.Liter...
Peter Nelson (1928-2009) for Architectural Lighting Ltd, Adjustable table lamp, circa 1967, Aluminium, electrical fittings, Manufacturer's label to inner shade, 62cm high It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.Please refer to department for condition report
Commemorative Plaque for the Zeebrugge Raid 1918. A near rectangular plaque, by Pieter de Soete, 81mm x 42mm, bronze, the obverse featuring Victory rising from a cloud, St George slaying the dragon in the background, ‘Zeebrugge on St. George’s Day. April 23d. 1918’ at base; the reverse inscribed ‘To six very gallant Gentlemen: Lt. R. D. Sandford, V.C., R.N., Lt. J. Howell-Price, D.S.O., D.S.C., R.N.R., Sto. H. C. Bendall, C.G.M., Ldg. Sea. W. G. Cleaver, C.G.M., D.S.M., Petty Officer W. Harner, C.G.M., E.R.A. A. G. Roxburgh, C.G.M. 1918-1927’, in Fisch, Brussels, card box of issue, good very fine £100-£140 --- London Gazette 23 July 1918: Honours for Services in the Operations against Zeebrugge and Ostend on the night of the 22nd-23rd April 1918: V.C.: Lieutenant Richard Douglas Sandford, R.N. ‘For most conspicuous gallantry. This officer was in command of submarine C.3, and most skilfully placed that vessel in between the piles of the viaduct before lighting her fuse and abandoning her. He eagerly undertook this hazardous enterprise, although well aware (as were all his crew) that if the means of rescue failed and he or any of his crew were in the water at the moment of the explosion, they would be killed outright by the force of such explosion. Yet Lieutenant Sandford disdained to use the gyro steering, which would have enabled him and his crew to abandon the submarine at a safe distance, and preferred to make sure, as far as was humanly possible, of the accomplishment of his duty.’ D.S.O.: Lieutenant John Howell-Price, D.S.C., R.N.R. ‘His assistance in placing Submarine C.3 between the piles of the viaduct before the fuse was lighted and she was abandoned was invaluable. His behaviour in a position of extreme danger was exemplary.’ C.G.M.: Stoker 1st Class Henry Cullis Bendall; Petty Officer Waler Harner; Leading Seaman William Gladstone Cleaver; and Engine Room Artificer 3rd Class Allan Gordon Roxburgh: ‘These four ratings were members of the crew of the Submarine C.3, which was skilfully placed between the piles of the Zeebrugge mole viaduct and there blown up, the fuse being lighted before the submarine was abandoned. They volunteered for and, under the command of an officer, eagerly undertook this hazardous enterprise, although they were well aware that if the means of rescue failed, and that if any of them were in the water at the time of the explosion, they would be killed outright.’ The above plaque commemorated the exploits of the crew of the submarine C.3 during the attack on the heavily fortified Mole at Zeebrugge, Belgium, on St. George’s Day, 23 April 1918. C.3’s role was to destroy the railway viaduct connecting the Mole with the main land installations. Towed by H.M.S. Trident, the C.3 moored alongside her objective under very heavy fire. The six man crew (all of whom were decorated for their gallantry) abandoned the submarine, making use of a motor skiff which had been installed on the vessel. At 12:20 a.m. on 23 April 1918 the C.3’s packed cargo of high explosives was detonated leaving a 100 foot gap in the viaduct.
A sheet of 300gm watercolour paper containing the original watercolour, gouache and ink character art composited into the cutaway of 'The Night Buzzard' as featured in Star Wars Episode IX Rise of Skywalker. Painted by John R. Mullaney in 2020.Measures 26x18.5cm. The three characters were hand drawn and painted at a larger scale than the cutaway itself to allow for more detail and flexibility of positioning before they were digitally composited into the eventual piece. Reference photography of each character was provided by Lucasfilm and this was used to ensure screen-accuracy. An additional unpainted image of Ushar peering inside a storage crate was drafted before John and the team at DK and Lucasfilm decided he would be depicted in a different posture and location. Ushar's mace was also drafted before it was decided to composite the photographic version of the character's weapon. Consideration had to be given to each character's colouring to ensure it matched the lighting of the main cutaway and the relative position in which they would be located. The artwork appears on pages 252-3 of DK's 2020 title Star Wars Complete Vehicles Incredible Cross-Sections. It remains the only canon depiction within the Star Wars universe of the entire vehicle interior used by the sequel trilogy's primary adversary.About The ProjectIn 1999 John was approached by Dorling Kindersley and Lucasbooks to be the third illustrator on their world-famous Star Wars Incredible Cross Section series. Since then he has had his meticulously detailed work published in many of the series’ titles including the Night Buzzard most recently commissioned & published in 2020. Thanks to a close working relationship with Lucasfilm’s archive and art departments, each image is extensively researched for accuracy and based on exclusive access to behind the scenes reference material. The pieces John completed in the early two thousands were approved by George Lucas, whilst approvals for more recent commissions have been overseen and rubber-stamped by Pablo Hidalgo - the head of Lucasfilm’s story group. Click here to see the full gallery of John's work on Star WarsAbout The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers. John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.
A sheet of 300gm watercolour paper containing the original watercolour, gouache and ink character art composited into the cutaway of 'The Night Buzzard' as featured in Star Wars Episode IX Rise of Skywalker for Dorling Kindersley's (see images, book not included in lot) . Painted by John R. Mullaney in 2020. Measures 9 x 33,5cm. The three characters were hand drawn and painted at a larger scale than the cutaway itself (see lot 205) to allow for more detail and flexibility of positioning before they were digitally composited into the eventual piece. Reference photography of each character was provided by Lucasfilm and this was used to ensure screen-accuracy. Two of the characters would be composited into the artwork as gunners manning the ship's weapon meaning it wasn't necessary to paint the full extent of their character. Consideration needed to be given to each character's colouring to ensure it matched the lighting of the main cutaway and the relative position in which each character would be located. The artwork appears on pages 252-3 of DK's 2020 title Star Wars Complete Vehicles Incredible Cross-Sections. It remains the only canon depiction within the Star Wars universe of the entire vehicle interior used by the sequel trilogy's primary adversaryAbout The ProjectIn 1999 John was approached by Dorling Kindersley and Lucasbooks to be the third illustrator on their world-famous Star Wars Incredible Cross Section series. Since then he has had his meticulously detailed work published in many of the series’ titles including the Night Buzzard most recently commissioned & published in 2020. Thanks to a close working relationship with Lucasfilm’s archive and art departments, each image is extensively researched for accuracy and based on exclusive access to behind the scenes reference material. The pieces John completed in the early two thousands were approved by George Lucas, whilst approvals for more recent commissions have been overseen and rubber-stamped by Pablo Hidalgo - the head of Lucasfilm’s story group. Click here to see the full gallery of John's work on Star Wars.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.
Circa 1911 Brush 10 HP 2 seater Gentleman's Runabout. - Elegant and early classic car - Comes with a massive history of the company and owners club Manufactured by Alinson Brush in Detroit Michigan USA and powered by a single cylinder 1030cc water cooled engine driving to the rear wheels with chain drive and with starting handle. The car runs and drives very well, it has a single lever to change from first to second gear and to reverse. The steering wheel has a hand throttle control and an advance lever, lighting is provided by acetylene head lights and paraffin side lights, the tyres are pneumatic with artillery wooden wheels, the front and rear axles are wooden. The car history is in a very large box and is very comprehensive, with a current V5 document. The last owner last had the car since 2004 and previous owner before that since 1991. To satisfy your knowledge of the vehicles condition please come down to our viewing days as follows: Saturday 3rd of December: 10am-2pm Monday 5th of December : 9am-5pm Tuesday 6th of December from 9am. - Our buyers premium on all cars, motorbikes and scooters is 10% + VAT - We encourage any interested parties to inspect the vehicle on our viewing days and prior to sale on Tuesday 6th December 2022 to satisfy themselves on the car's condition, please check our buying terms and conditions for cars and bikes available online or via email - Transportation options may be available, please contact us for a quote - Please call 01483 223101 to speak to one of our auction specialists for further information.
A pair of black japanned lamp tablesBy Vaughan Lighting in the Regency styleDecorated with chinoiserie figures, foliage and buildings, 38cm wide x 38cm deep x 141cm high, (14 1/2in wide x 14 1/2in deep x 55 1/2in high) size including fitments, not including shades (2)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A pair of black japanned and gilt circular lamp tablesby Vaughan Lighting, in the Regency styleDecorated with chinoiserie figures, foliage and buildings, 39cm wide x 39cm deep x 143cm high, (15in wide x 15in deep x 56in high) (size not including lampshades) (2)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
20 photogr. of several Olympic disciplines a.o.: swimming; sailing; athletics; hurdling; football; and the lighting of the Olympic flame. 26 x 20 cm. All w. copyright stamps on verso of Centrafilm and blindst. in right corners of the Centrale Commissie voor de Filmkeuring.Added: 2 photogr. of a boxing match. -and 21 duplicates, all w. pin marks and sm. creases in corner. (total 43)
(1-80) Series of 80 stereo-photogr., all mounted on orig. cards and measuring 9 x 18 cm, all publ. by J.C. White Co. (North-Bennington, Vermont) and J.J. Killelea & Co. in London and Paris under the trademark The "Perfec" Stereograph", patented in 1903 (copyright of the photogr. themselves often later or earlier).Incl. a.o.: many photos that are topographical in nature; buildings (incl. some interiors); street scenes in various countries; 2 views of the theme park in Coney Island and "The crowded beach" of Atlantic City, New York; a Jewish girl in Tunis; ships; Regent Street in London crammed w. carriages; a marketplace in Cork, Ireland; and military scenes (incl. Japanese, for example a Japanese surgeon extracting a bullet from a Russian). -and 60 other stereo-photogr., from a series on Paris (incl. 1 series of 15 photogr. prepared w. back lighting through thin col. sheets) and a series w. Dutch topographical views. (total 140)
A DENNIS CHINA WORKS LTD PRIMROSE BISCUIT BARREL AND TRIAL POT, the biscuit barrel tube lined with different coloured primroses on a yellow ground, impressed verse reading 'The primrose that blooms in mossy banks and darksome glens, Lighting the greenwood with its sunny smile', impressed and painted marks to base, numbered 74, diameter 13cm x height 12cm, together with a trial piece for a violet design, the flowers and leaves in three different colourways, marked to base 'Trial 1' (2) (Condition report: generally ok, the barrel has extensive crazing and would benefit from a clean, it has a cross mark on the base possibly indicating second quality, the trial piece has a 3cm hairline and no lid)
CANTON FAMILLE ROSE PORCELAIN VASE, 19th Century, painted with figural and with insect and flower panels, neck with two gilt deer handles, shoulders with four gilt chilong dragons, 34.5cm high, on later wood standProvenance: contents of Machen House, Lower Machen in the County Borough of CaerphillyComments; cork lighting insert to neck
AGOSTINO BONALUMI (1935-2013)Bianco 1967 signé, daté 67 et inscrit N.Y. au revers toile de forme et tempera vinylique signed, dated 67 and inscribed N.Y. on the reverseshaped canvas and vinyl tempera 127.5 x 176 x 30.5 cm. 50 3/16 x 69 5/16 x 12 in.Footnotes:Cette œuvre est enregistrée sous le n° 67-015 auprès de l'Archivio Bonalumi, Milan ; un certificat signé par l'artiste sera remis à l'acquéreur.ProvenanceGalleria Fumagalli, BergameAcquis auprès de celle-ci par le propriétaire actuel en 2006ExpositionNew York, Galleria Bonino, Agostino Bonalumi painting – constructions, 1967BibliographieWolbert Klaus, Agostino Bonalumi, Parme 2003, p. 152, illustré en noir et blanc Renato Barilli, Lia Durante, Agostino Bonalumi. Premio 'Artista dell'anno 2006', Milan 2006, p. 53, illustré en couleurs Fabrizio Bonalumi, Marco Meneguzzo, Agostino Bonalumi. Catalogo Ragionato, Milan 2015, Vol. II, p. 406, n° 332, illustré en noir et blancAgostino Bonalumi est né en 1935 à Vimercate, en Italie. Artiste autodidacte, il a étudié le design technique et la mécanique. Il a passé la majeure partie de sa vie en Italie, à l'exception d'une période d'étude et de travail en Afrique méditerranéenne et en 1967 aux Etats-Unis. Bonalumi est surtout connu pour ses toiles monochromes enduites de vinyle façonné.Alors qu'il visite l'atelier du peintre Enrico Baj, il rencontre Piero Manzoni et Enrico Castellani, avec lesquels il exposera à Rome, Lausanne et Milan en 1958. Leur questionnement autour de l'art et de leur époque les amène à repenser leur peinture vers une forme de peinture-objet : pittura-oggetto concept qui plut aussitôt à Bonalumi. Un an plus tard, Bonalumi et Castellani fondent la revue Azimuth et commencent à fréquenter l'atelier de Lucio Fontana. En effet au contact de Lucio Fontana, Bonalumi a étudié le concept d'espace et a réalisé ses premières Estroflessioni, consistant à étirer et à déformer les toiles à travers des structures et des cadres construits derrière elles créant ainsi l'illusion d'une force invisible poussant par dessous. Dans les années 1960, l'artiste introduit de nouveaux matériaux dans ces peintures construites tels que l'aluminium, et il a agrandi l'échelle de son travail, créant finalement des installations.Le travail de Bonalumi a été présentée dans de nombreuses grandes expositions individuelles et collectives, notamment aux Biennales de Venise et de São Paulo, et fait partie des collections de plusieurs musées, dont la Galleria Civica d'Arte Moderna e Contemporanea de Turin, la Galleria Nazionale d'Arte Moderna e Contemporanea de Rome, le Museu Coleçao Berardo de Lisbonne, la Peggy Guggenheim Collection de Venise et le Walker Art Center de Minneapolis. Des rétrospectives de l'œuvre de l'artiste ont été organisées à l'Institut Mathildenhöhe de Darmstadt, en Allemagne, en 2003, au Musée d'art moderne de Moscou en 2011 et au Palazzo Reale de Milan en 2018.Le public américain a pu découvrir, Bianco et le travail de Bonalumi lors de son exposition dédiée par la Galleria Bonino à New York en 1967. Cette œuvre de 1967 est extrêmement importante étant donné cette composition extraordinaire qui sont l'une des plus recherchées par les collectionneurs et que le marché n'a que trop peu l'occasion de pouvoir voir sur le marché. Grand Artiste de son vivant, Agostino Bonalumi, nous éblouit à nouveau avec ses extroflexions semi circulaires sur les trois angles et joue avec une plus petite estroflessione pointue dans l'angle supérieur gauche, défiant avec les limites de la toile qui lui sont imposées. Son habileté et cette vision si particulière de l'espace nous amène vers la contemplation et l'introspection. Légère, aérienne, puissante, ce pur pittura-oggetto présenté est l'exemple parfait de la capacité de l'artiste à jouer avec les trois dimensions qui enrobe le spectateur. Cet architecte de la toile met en scène ici la lumière tel un réflecteur sensoriel ; les volumes dans l'espace captent avec force l'œil du spectateur et lui donne une dimension physique et tactile.Agostino Bonalumi was born in 1935 in Vimercate, Italy. A self-taught artist, he studied technical drawing and mechanics. He spent most of his life in Italy, except for a period of study and work in Mediterranean Africa and 1967 in the USA. Bonalumi is best known for his monochrome canvases covered with shaped vinyl.While visiting the studio of the painter Enrico Baj, he met Piero Manzoni and Enrico Castellani, with whom he exhibited in Rome, Lausanne and Milan in 1958. Their questioning of art and of their current times led them to rethink about their painting as a form of object painting: pittura oggetto, a concept that immediately appealed to Bonalumi. A year later, Bonalumi and Castellani founded the magazine Azimuth and began to visit Lucio Fontana's studio. Inspired by Lucio Fontana, Bonalumi studied the concept of space and made his first Estroflessioni, which consisted of stretching and deforming canvases through structures and frames built behind them, thus creating the illusion of an invisible force pushing from below. In the 1960s, the artist introduced new materials into these constructed paintings, such as aluminium, and expanded the scale of his work, eventually creating installations.Bonalumi's work has been shown in numerous major solo and group exhibitions, including the Venice and São Paulo Biennales, and is included in the collections of several museums, including the Galleria Civica d'Arte Moderna e Contemporanea in Turin, the Galleria Nazionale d'Arte Moderna e Contemporanea in Rome, the Museu Coleçao Berardo in Lisbon, the Peggy Guggenheim Collection in Venice, and the Walker Art Center in Minneapolis. Retrospectives of the artist's work were held at the Mathildenhöhe Institute in Darmstadt, Germany, in 2003, the Museum of Modern Art in Moscow in 2011 and the Palazzo Reale in Milan in 2018.The American public first discovered Bianco and Bonalumi's work at his solo exhibition at Galleria Bonino in New York in 1967. This 1967 work is extremely important due to the extraordinary composition, one of the most sought after by collectors, and which rarely surfaces on the market. A great artist during his lifetime, Agostino Bonalumi dazzles us again with his semi-circular extroflexions on 3 angles, playing with a smaller sharp estroflessione in the upper left corner, defying limits imposed by the canvas. His skill and unique vision of space lead us to contemplation and introspection. Light, airy, powerful, this pure pittura-oggetto here on show is the perfect example of the artist's ability to play with the three dimensions that engulf the viewer. Here, this architect of the canvas stages the lighting as if it were a sensory reflector; the volumes of the space, giving it a physical and tactile dimension, forcefully capture the eye of the spectator.... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
CHU TEH-CHUN (1920-2014)Profondeurs veloutées 1991 signé, signé en chinois 朱德群 et daté 91 ; signé, signé en chinois 朱德群, titré et daté 91 au revershuile sur toilesigned, signed in Chinese 朱德群 and dated 91 ; signed, signed in Chinese 朱德群, titled and dated 91 on the reverse oil on canvas88.6 x 115.8 cm. 34 7/8 x 45 9/16 in.Footnotes:Cette œuvre est accompagnée d'un certificat d'authenticité de la Fondation CHU Teh-Chun (https://chu-teh-chun.org). ProvenanceGalerie du Luxembourg, LuxembourgCollection particulière, LuxembourgAcquis auprès de celle-ci par le propriétaire actuel BibliographiePierre-Jean Rémy, Chu Teh-Chun, Paris 2006, p. 185, illustré en couleursChu Teh-Chun naît à Baitu Zhen, district de Xiao, dans la province du Jiangsu en 1920 en Chine. Son père et son grand-père, médecins traditionnels, collectionnent les peintures chinoises, l'amenant sans nul doute très tôt vers cette vocation artistique via la calligraphie et la poésie classique chinoise. Encouragé par son père, il est inscrit puis reçu à l'académie des Beaux-Arts de Hangzhou, dont le directeur est le peintre Lin Fengmian qui restera un ami et mentor pour Chu.Après avoir suivi un enseignement de la peinture chinoise classique, il devient à seulement vingt et un ans professeur-assistant à l'académie des Beaux-Arts de Chongqing et s'applique désormais à peindre sous l'influence des grands peintres français avant de pouvoir venir définitivement en France en 1955. Ce pays le fera d'ailleurs entrer comme membre de l'académie des Beaux-Arts : l'artiste devient ainsi aussi immortel que son Œuvre. Il y rencontre tout d'abord des artistes chinois exilés comme Pan Yuliang, Sanyu, le sculpteur Xiong Bingming et retrouve Zao Wou-Ki, son camarade d'école. L'année 1956 sera pour lui un tournant artistique majeur. Il abandonne l'aspect figuratif de son art pour l'abstrait et rencontre un écho intense à travers ses nombreuses expositions en Europe avant sa première consécration à la 10ème Biennale de Sao Paulo au Brésil où un stand lui est consacré pour représenter la Chine en 1969.La reconnaissance de son travail devient très vite internationale et Chu Teh-Chun est très souvent appelé à retourner en Asie dont il continuera de s'inspirer tout au long de sa carrière.La légende et la notoriété de ce peintre - également officier de l'Ordre National du Mérite -, ses encres, ses toiles et ses céramiques n'ont de cesse d'impressionner son public. D'une extrême poésie et d'une grande délicatesse, ses œuvres sont le cheminement d'une recherche perpétuelle de l'expression de son imagination et de ses émotions grâce une palette de couleurs toujours plus riche et nuancée. Il est l'artiste chinois qui a su le mieux intégrer et sublimer la tradition chinoise et l'art occidental.Profondeurs veloutées, peint en 1991, est probablement un des tableaux réalisés dans son nouvel atelier de Vitry dans lequel il peut travailler sereinement au son de la musique classique. On y perçoit l'omniprésence de la nature, indissociable de son œuvre. Il y fait pénétrer une lumière douce, mais indispensable à sa composition, avec justesse. Cette œuvre est le parfait exemple de l'excellence de Chu Teh-Chun, alliant la maîtrise de la calligraphie rythmée avec précision, l'organisation d'une image sur la toile et la richesse des couleurs au profit de la lumière.Chu Teh-Chun was born in Baitu Zhen, Xiao district, Jiangsu province in 1920 in China. His father and grandfather, both traditional doctors, collected Chinese paintings, which undoubtedly led him early on to this artistic vocation through calligraphy and classical Chinese poetry. Encouraged by his father, he was enrolled and accepted at the Hangzhou Academy of Fine Arts, whose director was the painter Lin Fengmian, who would remain a friend and mentor to Chu.After studying classical Chinese painting, he became an assistant professor at the Academy of Fine Arts in Chongqing at the young age of 21. At that time, he turned to the great French painters for inspiration until he could move permanently to France in 1955. His new country would even welcome him as a member of the Academy of Fine Arts: the artist thus becoming as immortal as his oeuvre. At first he met exiled Chinese artists such as Pan Yuliang, Sanyu, the sculptor Xiong Bingming, even reuniting with his old schoolmate Zao Wou-Ki. 1956 was a major artistic turning point for him. He abandoned figurative art for an abstract pictorial approach soon rewarded by numerous exhibition proposals throughout Europe, leading to consecration in 1969 at the 10th Biennial of Sao Paulo in Brazil where he was offered his own booth to represent China.Recognition for his work would soon spread on an international level, henceforth Chu Teh-Chun was often called upon to return to Asia which would remain a primordial source of inspiration throughout his career.The legend and notoriety of this painter—also an officer of the National Order of Merit— his inks, his paintings and his ceramics have never ceased to impress. Highly poetic and extremely refined, his works testify to his constant quest to express the depth of his creativity and his emotions using a rich, nuanced, ever expanding palette of colours. He is the Chinese artist who has best integrated and sublimated Chinese tradition and Western art.Profondeurs veloutées (velvet depths), painted in 1991, is probably one of the paintings produced in his new studio at Vitry where he could work serenely to the sound of classical music. There, Nature, inseparable from his work, is omnipresent: sifted by vegetation the soft lighting is essential to the accuracy of the artist's compositions. This work is a perfect example of Chu Teh-Chun's excellence, combining his mastery of the calligraphic cadence and flow, with the art of composing upon the canvas using a wealth of colours to reveal light.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lemak (British b. 1980)The Fifth Layer, 2016Stencil spray paint on boardSigned, dated. titled and numbered 6/10 in pen to the verso46 x 82 cm (18 x 32 in)Lemak is a self-taught urban street and gallery artist. Born in 1980, he is currently based in Bristol but originates from Fleetwood, UK. He was inspired to pick up a spray paint can by stencil artists such as Snik and Tank Petrol and started creating art in 2011. He is developing a signature style of his own, merging the skills of his previous trade as a joiner with his artistic talents, and now specialises in reverse stencilling on glass. The lighting elements of the art bring out different features of the work, such as the intricate patterns of tattoos, in a distinct and unique way.
A fine and rare late 19th Century French porcelain-panelled Carriage clockVictor Reclus, ParisThe Anglaise Riche case with ribbed handle over rectangular inspection panel and repeat button, set to the corners with elaborate silvered and gilt caryatide columns framing the three polychrome panels depicting Classical women and putti, on a stepped base. The white Roman chapter ring with blued steel fleur de lys hands. The two-train movement with rack striking on a gong and a silvered English lever platform escapement with timing screw adjusted balance. Ticking and striking. Together with a double-ended winding key. 21cms (8 ins) highFootnotes:An identical model, also by Reclus and numbered 127, was Lot 138 of Christie's Dr. Eugene and Rose Antelis Collection of Important French Carriage Clocks, 26 November 1998. Victor Reclus was born on 30 September 1831 in Bergerac to Marie Venencie and Antoine Tonin Reclus, the latter of whom was a cutler. He moved to Paris with his partner, Virginie Louise Leroy, at some point before 1846, the year their only child, Henriette Clarisse Amélie, was born. In 1856 he opened up a horology shop on the Rue Dauphine, and that March he filed his first patent 'For a type of meter for carts'. This meter was for use with horse drawn carts, inevitably having a limited amount of commercial success. He and Virginie were also married that same year.He moved his workshop to the Rue des Lavandières-Sainte-Opportune in 1858, then the Rue du Temple in 1860. Concurrently he took out patents for, among other things, an aerial telegraphy system (Feb. 1857) and an alarm clock (Aug. 1858). At his height, he was employing a few dozen workers in his workshop in Paris. He developed a trademark for his clocks and watches (a sunburst with the initials VR) and a separate one for his barometers (an R in a lozenge shape). In addition to the Paris workshop, he seems to have had a second home in Joinville-le-Pont. He also became politically active; in September 1869 he joined his workers in petitioning for the protection from arrest for a group of striking miners in Loire. The year before he joined the Charity board of the Palissy à Joinville-le-Pont town council. It is possible he continued his political involvement; a town councillor from Joinville was elected in 1869, with the name Pierre Victor Reclus. Pierre Victor Reclus remained part of the town council until 1871. Various mentions of 'Reclus' continue to be made in the town until the turn of the century; 'Reclus' is always involved in campaigning for or supporting the rights of workers and the poor. Whether this is the same Reclus remains unknown.He entered work in two of the Universal Exhibitions, 1878 (where he won two silver medals) and 1889 (where he won a gold). Virginie died in 1884, and it was around this time that he became increasingly interested in electric horology, and electricity in general. On 1 October 1886 he took out a patent in London (Patent #12,491) for 'Improvements in Electric Clocks'. This patent involved a four-arm cam on the escape wheel receiving impulse from two springs held electrically taught, thus imparting 'constant force'. This same year, he was admitted to the Sociétés d'Horlogerie et des Chambres Syndicales, after being recommended by Paul Garnier. In the journal announcing his membership, he described his patent at length, and included diagrams. Reclus' address was listed as 114 Rue de Turenne; when he came to renew two of his patents in 1899, he was still living at this address. In 1896, his electric clock modifications were part of the International Society of Electricians exhibition. He demonstrated an electric bell ringer he had devised, whereby an electrical impulse would trigger the bell at the correct time. He offered a set of four small electric bells, which would 'chime' the quarters and 'strike' the hour. These were for domestic use. He then had a second, larger device which could be used to sound bells of 50kg and above. By this point, his name had become synonymous with electric horology in France, so much so that the 1890 Dictionary of Industry and Arts included special entries for his electric inventions.In 1897 he was on the electric lighting admissions panel for the 1900 Universal Exhibition. By 1905, he had moved back to the Dordogne region he left as a teenager and was apparently still practicing horology. He is listed in the 1920 census for the region, but no reference to him has been found after 1926.Sociétés d'Horlogerie et des Chambres Syndicales (1878) 'Annonces', Revue Chronométrique, 256 Numéro.Hope-Jones, F. (1929) 'Electrical Impulse Dial Movements', The Practical Watch and Clock Maker, Vol. 2 (1), pg. 72.Sociétés d'Horlogerie et des Chambres Syndicales (1886) 'Chambres Syndicale de l'Horlogerie de Paris', Revue Chronométrique, 356 Numéro, pg. 262.Reclus, V. (1886) 'Nouveau Système de Pendule Électrique', Revue Chronométrique, 356 Numéro, pgs. 65-72.Allison Brothers (1886) 'Patents Connected with the Manufacture of Watches and Clocks', The Horological Journal, Vol. 29 (3), pg. 45.Hope-Jones, F. (1929) 'Self-Wound Clocks', The Practical Watch and Clock Maker, Vol. 1 (11), pg. 592.Tharel, A. (1891) Dictionnaire, Encyclopédique et Biographique de l'Industrie et des Arts Industriels: SupplémentParis: Librairie des Dictionnaires.Ministre du Commerce, de l'Industrie, des Postes, et des Télègraphes (1901) 'Décret qui proclame 185 Cessions de Brevets d'Invention:156,157', Bulletin des Lois de la République Française, 12th series (63rd tome), pg.1643.Bergonié, J. (1896) 'Exposition de la Société Internationale des Électriciens de Paris',Archives d'électricité médicale, pg. 194.Willot, B. (2018) Victor Reclus, Inventeur et Homme de Cœur. Available at: https://polmoresie.over-blog.fr/2017/09/victor-reclus-inventeur-et-homme-de-coeur.htmlThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
AFTER CLODION- A PAIR OF FRENCH BRONZE AND GREEN GRANITE FIGURAL LIGHTS LATE 19TH CENTURY IN THE LOUIS XVI STYLE Formerly with branches, each with a figure, one a satyr, the other a bacchante, on a drum-shaped grey-green granite base with leaf tip upper edge, signed to the cast, formerly electrified 91cm high, bases 26cm diameter; each on an associated wooden stand 85.5cm high Literature: Hans Ottomeyer and Peter Pröschel, "Vergoldete Bronzen", 1986, p. 283, pls. 4.14.4-5, illustrating respectively a design for a comparable figural candelabrum in the Musée des Arts Décoratifs.Condition Report: Wear to surface as per age, handling and use. Both with remnants of later fitment for electrical lighting- both slightly dirty- she lacking an element to base with 2 vacant holes- he with slightly loose thyrsus and the figure, base and mounts in need of tightening up. Some wear to base edges-and some loss to patina from handling- notably to raised exposed limbs. Both with later painted gilt line to marble bases- stands with loss and damagesPlease refer to additional images for visual references to condition which forms part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Collection of Dolls house Bedroom, Bathroom furniture, lighting, pictures and more, furniture includes two beds, chest and cabinet with shelves painted Alpine scenes, Rocking horse, toys and more, bathroom suite, six dolls, good selection of rugs, pictures, lighting including lamps and chandeliers and more, (lot), please note that we cannot provide in house packing for this lot.
Disco Equipment: Amplifiers / Mixers / Lights, a large collection of Disco Equipment comprising two HH Professional Power Amplifiers model S130 s/n 10534 & 11606, a Citronic stereo mixer 7 channel SM 450 s/n A211 D909A 0044, a Citronic mixer SM 350, two microphone stands, one table top, both with heavy bases, two Citronic Record Decks CS 300D performer (discoloured lids), a Jingle Player CA127 with some 8 track tapes, a mobile case containing microphone, spare jack plugs, cables and more, a Pulsar zero 3000 light controller, Multiform Lighting multiphase 412 auto-reverse light two light boxes approx size 110cm x 36cm x 20cm some damage to perspex fronts, a smaller box of lights, three single lights, a bracket of lights, box of spare bulbs, all untested
Ephemera, a collection of 50+ letters and reports dating from around 1901/02 relating to arguments regarding the lighting of candles in a church, the responsibilities of Churchwardens, hoisting of ritualistic flags etc. sent to a Mr Gill, probably Vicar of St. Mary Magdalene, Holmwood. Letters are from, amongst others, The Athenaeum Club, Farnham Castle, Cranleigh Rectory, 24 The Cloisters Windsor Castle, Moscow Mansions Cromwell Road and sent from a Bishop, Vicars and gentry. An interesting read (gen gd)
Hugo Mühlig (1854 Dresden - 1929 Düsseldorf)Die Milchmagd und der Jäger, Öl auf Leinwand, 55 cm x 78 cm, signiert, doubliert, partiell retuschiert.Hugo Mühlig kam sicherlich durch die eigene Familie zur Kunst. Sein Vater und sein Onkel waren bereits bekannte Maler des 19. Jahrhunderts. Doch lernte er nicht nur bei Ihnen über Malerei, Komposition und den gelungenen Farbauftrag, sondern auch an der Dresdener Kunstakademie. Dem Studium folgte der Umzug nach Düsseldorf, womit auch eine Veränderung im Malstil des Künstlers einherging. So wie auch im vorliegenden Gemälde beschäftigt sich Mühlig mit dem Sujet der erntenden Bauern, Jäger oder Spaziergänger. Ob auf dem Felde oder dem Waldweg, ist die gesamte natürliche Umgebung sowie die Lichtstimmung charakteristisch für seine Werke. Zudem erschafft Hugo Mühlig durch das gekonnte Setzen des Horizonts eine Tiefenwirkung, der das Auge des Betrachters folgen möchte. Auch Beschaffenheiten der im Gemälde vorherrschenden Witterung, wie die leichte Kühle des Windes und der feuchte Erdboden sind genauso zu erspüren, wie die meist heitere Stimmung der auftretenden Figuren, trotz der nicht zu unterschätzenden Arbeit auf dem Felde.Hugo Mühlig (1854 Dresden - 1929 Düsseldorf)The Milkmaid and the Hunter, oil on canvas, 55 cm x 78 cm, signed, relined, partially retouched.Hugo Mühlig certainly came to art through his own family. His father and uncle were already well-known painters of the 19th century. However, he not only learned about painting, composition and the successful application of paint from them, but also at the Dresden Art Academy. His studies were followed by a move to Düsseldorf, which also brought about a change in the artist's painting style. As in the present painting, Mühlig was concerned with the subject of harvesting farmers, hunters or walkers. Whether in the field or on the forest path, the entire natural environment as well as the lighting mood is characteristic of his works. In addition, Hugo Mühlig's skilful use of the horizon creates an effect of depth that the viewer's eye wants to follow. The characteristics of the weather prevailing in the painting, such as the slight coolness of the wind and the damp soil, can also be sensed, as can the mostly serene mood of the figures appearing, despite the work in the field, which should not be underestimated.
1961 MG A Competition Roadster Transmission: manualMileage:7850When the MGA arrived in 1955, it must have come as quite a shock to MG aficionados who had become accustomed to the pre-war look of the company's sports cars. It was a complete departure in styling and its beautiful streamlined body was right up to the minute in terms of appearance. It was powered by a new engine; MG had decided that the old XPAG unit had had its day and so introduced a much more modern B Series engine that had made its debut in the recently announced Magnette saloon. The 'A' was officially launched at the Frankfurt Motor Show in 1955. Only 5,869 cars were sold on the home market, giving the MGA the highest export percentage of any British car and was replaced by the MGB in May 1962.This race prepared MGA Competition Roadster was first registered in June 1961 to its first owner, Mr. H. J. Royal of W1 and still wears its original registration. Built by the late Ron Cody specifically to race and win in a number of race series, he enjoyed the car over a period of approximately 20 years. During this time the car saw many victories in the Equipe GTS race series and this success led to Ron being asked to build, restore and race-prepare cars for other competitors to the same high standard. Since the car last competed it has undergone a significant restoration, receiving a new livery of Rosso Corsa with Old English White striping. Most of the rebuild was carried out in 2015 with further works in 2020. The car has had little use since then, but is ready to go.Powered by a 1950cc B-Series engine, it produces a very respectable 178bhp. This high specification engine has notable features including; an Arrow steel billet crankshaft, Carrillo con-rods, Peter Burgess cylinder head, Piper camshaft and a Weber 48DCO/SP carburettor. Other noteworthy features of this highly developed car include an MGB close-ratio gearbox, Quaife limited-slip differential, alloy front wings, a new radiator with thermostatic fan and new electrical switches, new lighting wiring and up-rated suspension incorporating Koni telescopic dampers. Supplied with a UK V5C registration document, BMI Heritage Certificate and original buff logbook, this beautifully presented MGA is ready to race and win, being eligible for a number of historic race series.Interested parties should note that the reserve on this vehicle has been reduced.
2004 Rolls-Royce Phantom Transmission: automaticMileage:The Phantom V11 was the first all-new design to be introduced by the company following its takeover by BMW. Produced at a new factory near Goodwood in Sussex, the Phantom revived a great name from Rolls-Royce's past that had always been synonymous with unrestrained luxury. In keeping with the tradition established by previous Phantoms, the newcomer was a very large motor car, outstretching the old Silver Seraph (the last Crewe-built Rolls-Royce) by 18 while boasting a radiator shell 4 taller. Priced at around £260,000 at time of launch, it was also 40% more expensive. At 140½, the new car's wheelbase was only fractionally shorter than that of the superseded Phantom VI that had ceased production in the 1990s; gone however, was the old pushrod V8 engine, its place being taken by an all-new 48 valve V12 of 6.7 litre capacity. Despite being normally aspirated, the latter produced 460bhp, comfortably exceeding the old engine's maximum when turbo-charged, albeit at a high 5,300 revolutions. This abundance of power was transmitted to the rear axle via a six-speed automatic gearbox, while air-sprung suspension and automatic level control ensured that ride quality remained uncompromised. While the body structure represented the ultimate in automotive technology, its accoutrements remained entirely traditional in choice of materials, consisting of the finest hide trim, genuine woolen carpets and carefully selected wood veneers. Certain dashboard features recalled those of earlier models, while there was a choice of five-seater 'Lounge' or four-seater €˜Theatre' accommodation. This flagship of the famous marque was originally supplied by Rolls-Royce Motors of London on 5th July 2004. Originally supplied in silver metallic but currently wearing a gloss full body wrap in Diamond Black with contrasting cream leather, which is complemented by unmarked Birdseye Maple wooden facias and 22 Mansory wheels giving a contemporary uplift. The registration number H15 RRP (His Rolls-Royce Phantom) comes with the vehicle. From new and until 2010, the servicing found within the original maintenance booklet, was carried out by main dealers and a single specialist. With just three owners from new, Mr. Bainbridge took ownership in 2009 and used the car daily hence the mileage now showing 177,000, however, the current vendor states that it drives like a 50,000 mile car. The previous owner who was the proprietor of 1st Direct Cars, maintained the vehicle and there is also a raft of invoices from PA Wood Rolls-Royce. ur vendor purchased the car in March of this year and he has used it to attend various social events, he claims it is the most fun he has had with his friend's, shuttling them in luxury to Le Mans and other events. The car enjoys all the usual refinements one would expect, including electric memory seats, ice cold air conditioning, hidden umbrellas in the poweroperated rear doors (electrically closing), a rotating TV screen mounted to the rear of the beautiful dash clock and overhead driving enchantment lighting to name a few of the factory-fitted options. Currently the audio system is falty and will require attention. Offered with an MoT test certificate until May 2023 and realistically reserved, this car presents great value for money and still offers that unrivalled presence with the powerful silent ride quality we all clamor for. There is no better way to arrive at any event and you owe it to yourself to own one once!
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