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Lot 1420
Traditional waxed pine dresser, top section fitted with two glazed display cabinets, shelf and spice drawers, lower section with three drawers and three panelled cupboards, on plinth base, W190cm, H200cm, D47cm Condition Report Click here for further images, condition, auction times & delivery costs
Lot 4
A French mid to late 20th century ceramic figural group, modelled as a hen with chicks and a snail, with indistinct impressed mark to plinth, 53 by 16.5 by 29.5cm high.Condition: Chip to the Hen's tail feather, along with fire cracks to the underside of the figurine, chips to the edges and corners of the plinth.
Lot 20
A pair of large turquoise glazed Chinese fo dog figures each in seated pose on rectangular plinth, height 30cm, together with two other smaller pairs and two singular examples (8)Condition report: One mid-size example with 3cm firing crack to corner of base, another with fingernail chip to underside edge.One large example cracked and repaired to body.Otherwise appears good overall.
Lot 2150
Victorian mahogany collectors cabinet, the arched glazed door opening to reveal six drawers with turned wooden handles and glazed tops, the frieze with drawer, 51cm wide, 47.5cm high, 47.5cm deepTop with surface marks, cabinet has no back, losses to mouldings around glazed door, drawer handles with some losses, frieze drawer has no handles, lower plinth beneath frieze drawer is missing
Lot 505
The 'SA-30 Collection' - 30 exceptional vehicles chosen to celebrate 30 years of the Silverstone Classic and all excitingly offered at No ReserveNumber 255 of 500 examples of the ultimate super-saloon and road-going DTM carOne owner for 30 years and just 26,056 miles (41,934km) from newShort-stroke,16v, 2.5-litre, 4-cyl with an AMG Power Pack producing 235bhp at 7,200rpmPresented in gleaming 'Blauschwarz' (blue/black) metallic with an array of spoilers, splitters, skirts and air damsWhilst aesthetically pleasing these dramatic aerodynamic aids are strictly functionalClassic nineties black leather cockpit, Teutonically efficient yet immensely comfortableOn offer from a private collection and for sale publicly for the first time since newRare opportunity to acquire an example of Mercedes' most radical road car since the Gullwing 25 years ago, the 190 E 2.5-16 Evolution II thrilled professionals and the general public alike when it was unveiled at the Geneva International Motor Show and legend has it that the entire limited run of 502 cars was sold pre-launch, possibly being squirrelled away by international car collectors. The bitter rivalry between BMW and Mercedes-Benz in saloon car racing throughout Europe helped hone the greatest 'touring cars' of the era and the Evo II was pitted against one of the best touring cars of all time, the E30 M3. A compromise was out of the question and the full-race car, developed for Group 'A' using this sports saloon as a basis, went on to acquire legendary status. Mercedes-Benz took the first three places in the DTM championship in the 1992 season with this remarkable vehicle, which henceforth is referred to, in revelation, as the "Evo II".The engine's output had been raised once again in comparison to the first Evolution model from the previous year, the Evo II now generating 235 horsepower. Top speed was 250 km/h, and the Evo II accelerated from a standing start to 100 km/h in 7.1 seconds. The body had also undergone further refinement on an aesthetic and aerodynamic level and the car's sporting pedigree was emphasised by its muscular stance. In this form, the 190E finally had the match of the M3, and while it was never as naturally gifted as its rival, the brutal and unrelenting way it delivered its performance, and its devotion to technological supremacy, set a precedent for Mercedes performance models that can be traced right the way through to today.The Evo II's body kit is perhaps the most outrageous ever applied to a production car, and the fact it was a product of the ultra-conservative world of early ninety's Mercedes-Benz is even more incredible. The ostentatious, fully adjustable rear spoiler was aerodynamically perfect and its front splitter would make a decent job of cutting the grass, however, despite outward appearances, the Evo II is a comfortable and tractable daily driver.The 255th of 500 built, this Evo II Homologation special-edition is no disappointment and exceeds expectations on every level. Firstly, there is the way it looks. Legend has it that BMW redesigned its wind tunnel after seeing the Evo II race car and none of the excitement has been lost on the road car. With its stunning "Blauschwarz" (blue/black) metallic bodywork devoid of any decals, and with number plates fitted instead of sponsors' logos, it's arguably even more dramatic.The build quality is pure Mercedes-Benz at their best and nothing has been compromised. The full-leather sports seats are both supportive and comfortable, the centre console has a full accompaniment of switches including air-conditioning and electric windows and, with only 26,056 miles (41,934km) from new, the interior wears its 30 years almost imperceptively.All but the first 1,000 of these kilometres were covered by one collector-owner over the last 30 years. Speaking volumes for its ability to be an exciting 'road-going' racecar, without the compromises that this usually entails, is the fact that this owner seems to have used this car more than almost any other in his truly world-class collection. But here is an example that offers the perfect balance of low miles and usability, and has been cherished in one of the world's finest car collections. With growing interest in historic motorsport, has come renewed interest from collectors in the cars that were homologated in order to allow some of the greatest saloon cars of all time to go racing in the first place. This Evo II ranks among the most visually striking of all the homologation specials and warrants pride of place in any collection. But more than that, whilst most of us would love to have an E30 M3 Johnny Cecotto or Robert Ravaglia in our garage, that's where they would be kept. The 250-16 Evo II deserves to be in a large architect-designed, glass-walled space in your house on a raised plinth lit by pencil spotlights. A piece of modern art, Form and Function in perfect harmony.You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Harry Whale on 07919 887 374 / harry@silverstoneauctions.com to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: NOVAYear: 1992Make: Mercedes-BenzModel: 190E 2.5-16 Evolution IIChassis Number: WDB2010361F740599Odometer Reading: 41934Engine Capacity: 2463
Lot 263
A 19TH CENTURY FRENCH ORMOLU MANTEL CLOCK, cast case with Bacchus cradling an infant whilst leaning against a tree trunk, on plinth base, having vase and pole with swags of fruiting vine, fitted an 8-day movement by Japy Freres, the embossed circular dial with enamel tablets with Arabic numerals, 51.5cm high
Lot 315
A LATE 19TH CENTURY MAHOGANY FINISHED DRESSING TABLE, having central adjustable plain plate, supported on two carved uprights, with twin drawer box bases, the serpentine fronted base unit, fitted concealed central drawer, supported on ring turned for e legs, plain rear, united by a plinth undertier, 172cm x 121cm
Lot 323
A LATE 19TH / EARLY 20TH CENTURY TWO-PART HABERDASHER'S DISPLAY CABINET, the glazed oak upper section having four fall-down panels, with an applied Smallwood Ltd brass rule, upon an associated mahogany base, having triple panelled frontage, the rear being open and shelved, the whole supported on a plain plinth base, 97cm high, 304cm wide
Lot 494
* Loud (Arthur Bertram, 1862-1930). An album of drawings and watercolours, seven tipped-in drawings by Arthur Bertram Loud, comprising: a pencil sketch of a terrier, signed and dated 1914 lower left, and titled in pencil on album leaf below image 'A Faithful Friend'; a grisaille watercolour of an elderly woman entitled 'The Old Cottager', titled and signed in pencil to album leaf; a small pencil drawing of a terrier in profile mounted above a pencil drawing of the back view of a man on horseback, both initialled lower right, latter additionally dated 1910; a watercolour of two terriers lying down, pencil title 'Doggies' and signature on album leaf; a watercolour of stonework, garden gate, and path, dated Sept 28th lower left, pencil signature and title 'A Welsh Cottage' to album leaf; and a pencil drawing of a windmill, pencil signature and title 'The Old Mill at Waterloo' on album leaf, with several drawings by other artists direct on album leaves, comprising: A pencil sketch of a foliage sprig by Gertrude Jekyll, titled 'Sweet Bay' and signed by her in pencil; a watercolour by Arthur Kynaston (1876-1919), depicting a young lady and two naked children in a garden, signed lower right, additionally signed, dated March 1909, and titled '"Bloom of Spring"' in ink below image; a watercolour landscape with Florence Cathedral, entitled '"Florence at Evening"', signed by Muriel Burnett; and a pen & ink drawing by Winifred Cooper (1879-1931), of a wistful young lady leaning on the plinth of a statue of the Virgin Mary, within a frame of sunflowers incorporating three verses by Jean Moréas, signed and dated 1910 lower left, one page of manuscript quotations near front of volume signed 'Winnie' and dated 1908, remainder of album blank, album leaves 20.5 x 15 cm (8 x 6 ins), gilt floral endpapers, all edges gilt, original sheep, spine rubbed, spine ends and corners worn with loss, upper cover elaborately gilt blocked with a rose wreath and borders, 8voQty: (1)NOTESArthur Bertram Loud was a painter of portraits and landscapes, working mainly in oils. As a boy he was taught by his father, artist Charles Jones (whose surname he dropped in 1908 when he changed his name by deed poll). In 1880, at the age of 17, Loud entered the Royal Academy Schools, and he subsequently studied at the Académie Julian, arrriving there in 1883. He exhibited at the Royal Academy from 1884 onwards, and in 1890 followed in his father's footsteps by becoming an elected member of the Royal Cambrian Academy.
Lot 92
Wondefully interesting group of antique finely hand carved wooden figures, possibly Black Forest, nethertheless comprising trio of gentleman in intriguing eclectic poses plus a rabbit on hind legs. Mounted on a non original plinth. Note: We are happy to provide additional images of any lot. Please email us or contact us via the link on the item page to request additional images.
Lot 517
* After Edward Coley Burne-Jones (1833-1898). The Birth of Galatea, The Godhead Fires, by Charles William Campbell, London: Robert Dunthorne, 1885, mezzotint on chine collé, depicting Pygmalion's statue Galatea stepping forward from her plinth and being received by a garlanded divinity standing in a pool of light with doves at her feet, with a figure kneeling at a statue in the background beside a bowl of burning incense, signed in pencil by Burne-Jones lower left and Campbell lower right, mount-stained and spotted, 1" closed tear in right-hand blank margin, plate size 46.4 x 36.3 cm (18.25 x 14.25 ins)Qty: (1)NOTESAfter the painting of 1878, from the second series of four paintings illustrating William Morris's cycle of epic poems The Earthly Paradise , now at Birmingham Museums and Art Gallery (1903P25); the first series is in the collection of Sir Andrew Lloyd Webber.
Lot 660
* Maclagan (Dorothea Frances, 1895-1982). Dawn, oil on canvas, depicting a semi-nude sculptural female figure, seated before a masonry wall, with two cavorting putti on her lap, and two owls beside, against star-spangled dark blue drapery revealing a cockerel on a plinth against a dawning sky, slightly rubbed upper right (and loss of a few small flakes of paint), 30.5 x 22.5 cm (12 x 8.75 ins), framed, with artist's handwritten label to versoQty: (1)NOTESDorothea Maclagan studied at the Byam Shaw School of Art in London between 1914 and 1917, subsequently spending 5 years at the Royal Academy Schools where she was tutored by Sir George Clausen and Ernest Jackson, amongst others, and won a number of medals. She kept a studio in London throughout the 1920s, later moving to Meadle in the Vale of Aylesbury in the 1930s. She moved in artistic circles, counting Glyn Philpot, Vivian Forbes and John Nash amongst her friends, and she exhibited widely, particularly at the Royal Academy. She married the painter Philip Douglas Maclagan (1901-1972). This piece is typical of Dorothea's work in small scale figure composition, with its subtle air of introspection and intimacy.
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173487 item(s)/page