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![Churchill (Winston Spencer).The Collected Works of Sir Winston Churchill, volumes 1 to 34 [and] The Collected Essays of Sir W](https://cdn.globalauctionplatform.com/60da7df3-594f-4fbf-a7be-b04b00a3d04c/5ea8c3a0-9b89-4b21-885f-b07d01190a67/468x382.jpg)
Lot 65
Churchill (Winston Spencer).The Collected Works of Sir Winston Churchill, volumes 1 to 34 [and] The Collected Essays of Sir Winston Churchill, volumes 1 to 4. The Centenary Limited Edition.The Library of Imperial History, 1973-76, numbered limited edition of 3000 [1750 according to Woods], thirty-eight volumes, plates and maps, all edges gilt, full vellum bindings with Churchill armorial device, individual slipcases.Housed in 'The Churchill Collection Bookcase', a purpose made, mahogany hand-finished bookcase, the pediment inset with gilt Churchill armorial on leather, brass ownership plaque to mounded plinth base.
![Model Ship - A three masted barque mounted to plinth, approximately 55 cm x 79 cm. [W]NOTE: THIS LOT IS NOT AVAILABLE FOR IN](https://cdn.globalauctionplatform.com/ccb9f648-0696-4f43-9c51-b037011687a4/3bb2ff00-457b-4cc0-b2b4-b06d009fe180/468x382.jpg)
Lot 732
A fine Victorian Elkington Neo-Classical silver trophy cup and stand, of covered, two-handled form, the bowl shallow relief decorated on one side in depiction of three classical Greek female figures respectively holding a dish, a staff and a lyre, the opposing side faced with an anthemion scroll cartouche with later engraved presentation inscription "C & W [ Cumberland & Westmorland ] Wrestling Trophy. Presented by Ambleside Trades People to the Ambleside HTSA, 1950", the domed cover's finial in the form of a bust of Athena, its scroll handles reeded, collared and acanthus-capped, the interior gilt, on a plinth bearing finely engraved monograms, an armorial shield and crest, Elkington & Co (Frederick Elkington), Birmingham, 1869, 3790 g, 63 cm tall
Lot 3
Wills's Pirate Shag - Wills Tobacco - A vintage mid 20th century plaster point of sale shop display advertising figure statue. The sculpture depicting a pirate with pipe in hand, with one foot on a treasure chest. The chest reads ' 8D PER OZ 4D PER 1/2 OZ ' and the plinth ' Wills's Pirate Shag '. Measures approx. 39cm x 16cm x 14cm.
Lot 428
A retro mid 20th century circa 1960s vinyl padded & teak framed hall stand / coat rack. The stand having a railed rack atop over a rectangular mirror with coat hangers. Teak shelf below with matching plinth base below. The stand padded in light blue vinyl fabric. Measures approx. 185cm x 60cm x 30cm.
Lot 207
Silver Art Deco Trophy with Spirit Of Ecstasy Type Handles And Turned Oak Base A London hallmarked (1931-1932) sterling silver trophy on a turned oak circular plinth. The engraving reads as follows: THE SECOND CLAPTON CUP, Section 2, January 1932. There is a monogram for Clapton Stadium (as part of the engraving). The engraving continues as follows: Winner Maher's Prospects 33.73 seconds; Owner Maurice Davis, Trainer F. Ralph, 2nd. Feb.1932. The trophy has two well modelled handles in a style reminiscent of the 'Spirit of Ecstacy' Weight: 987.2 grams Condition: No dings or dents to the trophy Some polish residue within the figural castings The hallmarks are well rubbed but discernible No nicks to the oak plinth Diameter of the top:22.5cms Diameter of the trophy (including handles): 30cms Depth of the trophy: 8cms Diameter of the base: 14cms Height of the trophy (excluding the plinth): 11.25cms Diameter of the base at the top: 15cms Diameter of the base at the bottom: 20.5cms Height of the base: 7.5cms Overall height: (Trophy and plinth):19cms
Lot 738
Zoologica Specifica - - Max Esser. (1885 Barth - 1945 Berlin). Biber. Nach einem Entwurf von 1939. Guss um 1970. Bronze mit dunkelbraun-schwarzer Patina. H 56 x B 36 x T 42 cm. Rückseitig auf der Plinthe signiert mit "M. Esser", mit Gießerstempel "Guss Barth Rinteln". Wohl eines von nur wenigen Exemplaren (der Guss in der Bildgießerei Barth erfolgte im niedrig, einstelligen Bereich). - Der Guss entstand um 1970 als Auftrag des Ehepaars Wolfram und Lilli Esser nach dem Originalmodell von 1939. - Der Tierbildhauer und Medailleur Max Esser erhielt seine Ausbildung an der Unterrichtsanstalt des Kunstgewerbemuseums Berlin sowie an der Berliner Kunstakademie. Dort studierte er unter August Gaul. Bereits mit 21 Jahren nahm er regelmäßig an der Großen Berliner Kunstausstellung teil. Besonders bekannt sind seine Entwürfe für Porzellanfiguren. Lange Zeit war er in der Meißner Porzellanmanufaktur beschäftigt und leitete dort ein Meisteratelier. Später fertigte er auch Modelle für KPM, Rosenthal u.a. - Die Bronze nach einem Entwurf des Künstlers von 1939 für einen sitzenden Biber der KPM Berlin. Die detailliert ausgearbeitete und in leichter Körperrotation gestaltete, allansichtige Plastik zeugt hierbei von der schöpferischen Fertigkeit Essers als Tierbildhauer. - Insgesamt etw. angestaubt, vereinzelt oberflächlich leicht berieben, tls. etw. oxidiert. Insgesamt sehr gut erhalten. - Wir danken Herrn Fujimi Barth der Bildgießerei Richard Barth in Rinteln für wertvolle Hinweise. Bronze with dark brown-blackish patina, after a design from 1939. Signed "M. Esser" on the reverse of the plinth, with foundry stamp "Guss Barth Rinteln". - One of only a few copies. - The sculpture was commissioned by Wolfram and Lilli Esser around 1970, based on the original cast from 1939. - The animal sculptor and medallist Max Esser is particularly known for his designs for porcelain figures. For a long time he was employed at the Meissen Porcelain Manufactory, where he ran a master studio. Later he also created models for KPM, Rosenthal and others - The bronze is based on a 1939 design by the artist for a seated beaver for KPM Berlin. The detailed and slightly rotated sculpture shows Esser's artistic skills as an animal sculptor. - Altogether somewhat dusty, occasionally lightly rubbed on the surface, some spots slightly oxidised. Overall very well preserved.
Lot 753
Zoologica Specifica - - Josef Franz Pallenberg. (1882 Köln - 1946 Düsseldorf). Drei Brillenpinguine. Um 1920. Polychrom gefasstes Porzellan. Ca. 33 x 22 x 38 cm. Die Plinthe seitlich signiert mit "Jos Pallenberg". Rückseitig mit Stempel der Porzellanfabrik Karl Ens. Röntgen 2865. - M. Bartelmus und S. Schweizer, Der Tierbilderhauer Josef Pallenberg (1882-1946), Berlin, Deutscher Kunstverlag, 2020. - Josef Pallenberg war ein deutscher Tierbildhauer und Tierverhaltensforscher. Er wurde in Köln geboren und stammte aus einer Künstlerfamilie, die mit dem preußischen Königshof verbunden war. Seine formale Ausbildung erhielt er an der Kunstakademie Düsseldorf, wo er Zeichnung und Bildhauerei studierte. - Die Porzellanfabrik Karl Ens insbesondere für sein Zierporzellan und ausgeprägt künstlerischen Tierplastiken bekannt. - Unter der Standfläche mit nicht lesbarer Bezeichnung fremder Hand, minimal angestaubt. Insgesamt in äußerst wohlerhaltenem Zustand. Three african penguins. Polychrome glazed porcelain. The plinth signed on the side "Jos Pallenberg". On the back with stamp of porcelain factory Karl Ens. - Under the base with illegible inscription of another hand, minimally dusty. Overall in excellent condition.
Lot 762
Zoologica Specifica - - Gertrud Starck. Schraubenziege. 1939. Bronze mit dunkelbraun-schwarzer Patina. H 43 (mit Sockel 60 cm) x B 13 x T 35 cm. Auf der Plinthe signiert mit "Gertrud Starck" sowie bezeichnet mit "Markhor" und "Zoologischer Garten Berlin 1939". Fest montiert auf Steinsockel. - Etw. angestaubt, die Patina vereinzelt etw. ungleichmäßig bzw. leicht oxidiert. Insgesamt in guter Erhaltung. Markhor. Bronze with dark brown-blackish patina. Signed "Gertrud Starck" and inscribed "Markhor" and "Zoologischer Garten Berlin 1939" on the plinth. Firmly mounted on a stone base. - Somewhat dusty, the patina occasionally irregular or slightly oxidised. Altogether in fine condition.
Lot 189
Pietro Labruzzi (1739-1805) A Full-Length Portrait of Nicholas I of Russia in a classical setting 1802. Oil on canvas. Signed, located, and dated, lower left: Pietro Labruzzi Roma Pinx Anno 1802. Lot Essay: Nicholas I (Russian: Nikolay Pavlovich) (1796-1855), Russian Emperor (1825 - 1855), is often considered the personification of classic autocracy. It is clear that even at the age of 6, Nicholas was being cultivated as a future potential Emperor. The surrounding tropes in the present image reflect this, with Nicholas' setting rich in both accessories and emblematic references. For example, the pan flute, which alludes to the Greek god Pan, the patron of pastoral poets, evokes Nicholas' classical education as a royal, along with the numerous Classical references such as the Pegasus in the background. The portrait bust on the right of the image is inscribed with 'Alexander the first, of all of the Russian Empire', referring to Nicholas' elder brother Alexander I (Emperor of Russia 1801-1825). In this image, Alexander is immortalised as Imperator, explicitly linking the strength and glory of the Russian Empire to that of Ancient Rome through the use of the portrait bust. Moreover, the positioning of the portrait bust above Nicholas indicates the hierarchy of the royal lineage, with his brother Alexander I majestically surveying from above. The laurel wreath upon which Nicholas rests his hand is another nod to Greek mythology (this time to Apollo) as a universal symbol of triumph and peace, demonstrating the Russian Empire's role as a bringer of peace to the Greeks. Finally, the epee and globe, and the words 'Victor' on the plinth, collectively point to a triumphant military campaign. Dressed in traditional Greek dress, Nicholas wears Greece's blue and white national colours. His type of trousers, gilet and slippers were likely commissioned to commemorate the establishment of the oligarchic Septinsular Republic under nominal Russian and Ottoman sovereignty in the Ionian Islands in 1800. When Alexander I came to the throne in March 1801, Russia was in a state of hostility with most of Europe, though its armies were not actually fighting; its only ally was its traditional enemy, the Ottomans. As such, the establishment of the Septinsular Republic marked a victory in an increasingly unsettled time during Russian foreign policy. The Republic was established after a joint Russo-Ottoman fleet captured the islands and ended a two-year rule by the French Republic, marking the first time Greeks had been granted self-government since the fall of the last remnants of the Byzantine Empire to the Ottomans in 1460. Pietro Labruzzi's elder brother, Carlo Labruzzi (1748 - 1817), was also a well-known artist achieving official recognition, boasting several international and high-profile patrons. Carlo Labruzzi executed a number of commissions for the Russian court: for example, his View of The Colosseum from the Palatine (signed and dated 1780) is in the Pavlovsk Palace, near St. Petersburg (p. 8, Dickinson). Pavlovsk Palace is an 18th-century Russian Imperial residence built by the order of Catherine the Great for her son Grand Duke Paul, in Pavlovsk, within Saint Petersburg. After Grand Duke Paul's death, it became the residence of his widow, the Empress Maria Feodorovna (1759-1828), the mother of both Emperor Alexander I of Russia and Emperor Nicholas I of Russia. As such, there is plausible evidence to suggest that Carlo's brother would have been surrounded by the young Nicholas I, and if Pietro himself was not painting Nicholas from life, it is likely he would have been painting from sketches his brother made while at the Russian court.Dimensions: Canvas) 53.5 in. (H) x 38.75 in. (W) (Frame) 59.75 in. (H) x 45.5 in. (W)
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