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Click here to subscribeTwo boxes, one with LPs on trains: 'The Magic of Steam, 'The Great Western GWR Mainline Steam Specials', 'West of Exeter' etc. along with a box of railway books: 'British Steam Engines, the ultimate guide to the greatest steam engines', 'Red, Cream and a touch of Grey, the Western Welsh Story' Collin Scott, 'Western Cameraman 1851-1962 R J Blenkinsop' etc. (2) (B.P. 21% + VAT)
A PAIR OF EARLY GEORGE III SALTS, maker R & D Hennell, London 1767, of oval form with everted gadrooned rims raised upon four stepped hoof feet with escallop shell terminals, 3" wide, together with a later pair of salt spoons, London 1839, 6ozs 6dwts (2 pairs) (Part Illustrated) (Est. plus 21% premium inc. VAT)Good
A DIAMOND DRESS RING, the open lozenge panel point set with numerous small round brilliants within a border of baguette cut stones, the open shoulders further channel set with round brilliants to a plain shank stamped 18k and overstamped 750, size R (Est. plus 21% premium inc. VAT)5.2g gross, generally good
AN EDWARDIAN GLASS DRESSING TABLE JAR, maker possibly J & R Griffin, Chester 1908, the lift-off silver cover chased and enamelled in blue and green with an iris, 2 1/2" diameter (Est. plus 21% premium inc. VAT)Very minor rubbing to enamels, no holes, blue enamelling on the underside(?), glass not best quality, minor chips but generally ok
Domenico Zampieri NachfolgerDer SchutzengelÖl auf Leinwand121 x 95 cmBezeichnet unten links: DOM.ZAMPERIUS / BON.F.A.MDCXVösterreichischer Privatbesitz Das Urbild unseres Gemäldes ist das bedeutende Werk Domenichinos im Museo di Capodimonte, Neapel (Öl auf Leinwand, 249 x 210 cm). Erstmalig wird das Neapler Gemälde von dem italienischen Kunsttheoretiker Giovanni Pietro Bellori (1613-1696) im Jahre 1672 erwähnt. Er berichtet, dass sich in der Kirche von San Francesco in Palermo ein Gemälde Domenichinos befinde, das einen Schutzengel zeigt, der eine Seele – dargestellt als ein andächtiges junges Mädchen mit zum Himmel gefalteten Händen – mit einem Schild vor dem lauernden Teufel beschützt und zu Gottvater über ihm hinweist. Wie Robert Spear in seinem Werkverzeichnis darlegt, soll eine vorbereitende Zeichnung zu dem Neapler Gemälde, Belloris Aussage, dass im Ursprungszustand eine Gottvater-Darstellung noch über dem Schutzengel schwebte, unterstreichen. Wie er weiter feststellt, wurde dem Gemälde wohl noch im 17. Jahrhundert die obere Partie abgenommen, so dass die gesamte Partie über dem Engel eine frühe Ersetzung sein muss. Die Umgestaltung des Urgemäldes muss laut Spear anscheinend vor 1708 geschehen sein, da sich eine von Jan Weenix signierte und in dieses Jahr datierte Kopie in der Princeton R. Ford Sammlung erhalten hat (vgl. Robert E. Spear, Domenichino, New Haven 1982, WVZ Nr. 45, Abb. 158). Unser Gemälde zeigt die heute in Neapel befindliche Komposition, weicht jedoch nicht nur in der Größe, sondern auch in einigen Details ab. So sind beispielsweise Unterschiede in der Gestaltung des unteren Bildrandes erkennbar, wie auch eine leichte Verschiebung in der Anordnung der vor dem Grabmal liegenden antiken Versatzstücke. Der Landschaftsausblick am rechten Bildrand erfährt eine leichte Variation und gerade die obere, am Neapler Bild ersetzte Partie, zeigt am links ins Bild ragenden Baum und dem lichtdurchfluteten Himmelsbereich gestalterische Unterschiede. Die charakteristisch-stimmige Malweise und die diffizil an das kleinere Format angepasste Komposition sprechen für eine Wiederholung des Neapler Gemäldes von höchster Qualität.
Gustav KlimtEntwurf für die Reinzeichnung "Oper"1883Bleistift, Feder mit schwarzer Tinte auf Papier; gerahmt53 x 38 cmSigniert oben am linken Rand: G. Klimtauf der Rückseite zehn verschiedene Studien in schwarzer Kreide: vier Entwürfe zu einer Supraporte, Frauenkopf im Profil nach links, Brustbild einer Dame im Profil nach links, und im unteren Rand eine eigenhändige (?) Anmerkung in Bleistift: "Mirzl und Dreher 1884 / 1884 / ehe (?) Gustav Klimt / Karoline Holdefreund (?) Lieber Hans", in der Mitte: "ich", "333333 3489 33",Nachlass-Stempel (Sammlung R. Zimpel)Christian M. Nebehay, Wien;österreichischer Privatbesitz1963 Wien, Ch. M. Nebehay, Gustav Klimt. Eine Nachlese. 70 bedeutende Zeichnungen, Wien 1963, Nr. 6;1970 Darmstadt, Mathildenhöhe, 3. Internationale der Zeichnung, Nr. 12;1981 Hamburg, Hamburger Kunsthalle, Experiment Weltuntergang. Wien um 1900, Nr. 11 ("Heilige Cäcilie – Allegorie der Oper")Christian M. Nebehay (Hg.), Gustav Klimt. Eine Nachlese. 70 bedeutende Zeichnungen, Ausst.-Kat. Nr. VI., Wien 1963, Nr. 6;Fritz Novotny/Johannes Dobai, Gustav Klimt, Salzburg 1967, S. 380;Christian M. Nebehay, Gustav Klimt Dokumentation, 1969, Abb. 102;3. Internationale der Zeichnung, Ausst.-Kat., Darmstadt, Mathildenhöhe 1970, Nr. 12 (Abb.);Alice Strobl, Gustav Klimt. Die Zeichnungen. 1878-1903, Band I, Salzburg 1980, S. 34 und 35 (Abb.), Nr. 69;Experiment Weltuntergang. Wien um 1900, Ausst.-Kat., Hamburger Kunsthalle, Hamburg 1981, Nr. 11 ("Heilige Cäcilie – Allegorie der Oper") mit Abb.;Christian M. Nebehay, Gustav Klimt. Von der Zeichnung zum Bild, Wien 1992, S. 23, Abb. 17;Barbara Sternthal, Gustav Klimt. Mythos und Wahrheit, 2006, Abb. S. 8;Marian Bisanz-Prakken, Gustav Klimt. Drawings. Wienerroither & Kohlbacher (Hg.), Wien 2018, Nr. 4Diese Entwurfszeichnung entstand für die Allegorie "Oper" (1883), eine der fünf bildhaft gezeichneten Kompositionen, die Gustav Klimt – zusammen mit zwei Ölgemälden – zwischen 1880 und 1884 für das historistische Serienwerk "Allegorien und Embleme" geschaffen hat. Zu diesem ehrgeizigen Projekt hatte der Herausgeber Martin Gerlach eine große Reihe von arrivierten wie auch jungen, aufstrebenden Künstlern aus Deutschland und Österreich eingeladen, unter ihnen Gustav Klimt. Für den noch unbekannten Künstler war die Beteiligung an dieser Publikation eine einmalige Gelegenheit, sein Talent als vielseitig begabter Zeichner unter Beweis stellen zu können.In Klimts Allegorie "Oper" (Strobl 70) wird die zentrale Darstellung einer Sängerin, begleitet vom lyraspielenden Gott Apoll, von einem üppigen Phantasierahmen im Stil der italienischen Hochrenaissance umschlossen. Außer der vorliegenden, mit zartem Bleistift ausgeführten Entwurfszeichnung – in der die Figur des Apoll noch nicht aufscheint – sind uns ein weiterer, mit Feder gezeichneter Kompositionsentwurf (Strobl 3239) sowie mehrere Studien für die Hauptgestalten und die sich rundherum tummelnden oder musizierenden Kleinkinder bekannt (Strobl 57-68).Der Kontrast zwischen der formelhaften Stellung der Sängerin und der extremen Beweglichkeit der nackten Kleinkinder offenbart sich in der hier gezeigten Entwurfszeichnung. In der Kunst des Historismus sind Putti ein vielfach belebendes Motiv, so auch beim jungen Gustav Klimt. Die zahlreichen nach dem Leben gezeichneten Studien von Säuglingen und Kleinkindern zeugen von seiner besonderen Intuition für die natürliche Beweglichkeit, aber auch für den psychologischen Ausdruck der kleinen Modelle. In der Allegorie "Oper" und in deren Entwurfszeichnungen wirken Klimts Kinderfiguren sogar als die heimlichen Hauptdarsteller, deren eigenständige Aktivitäten ihr zartes Lebensalter bei weitem übersteigen. Dieser innere Widerspruch kennzeichnet bereits die Putti der Renaissance – die unverkennbaren Modelle für die historistischen Kinderfiguren, denen Gustav Klimt in seinen Zeichnungen neues Leben eingehaucht hat. (Marian Bisanz-Prakken)
Gustav KlimtSitzende mit Pelzboa, Studie für das Bildnis Fritza Riedlerum 1904Schwarze Kreide auf Papier; gerahmt45 x 32 cmNachlass-Stempel verso: Nachlass / Gustav / Klimt / Sammlung / R. ZimpelNachlass des Künstlers;Sammlung R. Zimpel;Felix Landau Gallery, Los Angeles, um 1950-55;Sammlung Felix Landau;durch Erbschaft Privatsammlung1963 Wien, Kunsthandlung & Antiquariat Christian M. Nebehay, Gustav Klimt. Eine Nachlese. 70 bedeutende Zeichnungen, Nr. 41 (Abb.)Christian M. Nebehay (Hg.), Gustav Klimt. Eine Nachlese. 70 bedeutende Zeichnungen, Ausst. Kat. Nr. VI., Kunsthandlung & Antiquariat Christian M. Nebehay, Wien 1963, Nr. 41 (Abb.);Fritz Novotny/Johannes Dobai, Gustav Klimt, Salzburg 1967, S. 336;Alice Strobl, Gustav Klimt. Die Zeichnungen 1904-1912, Band II, Salzburg 1982, Nr. 1236, S. 30, Abb. S. 31;Marian Bisanz-Prakken, Gustav Klimt. Drawings, Wienerroither & Kohlbacher (Hg.), W&K Edition, Wien 2018, Nr. 32Fritza (Friederike) Riedler, geborene Langer (Berlin 1860 – 1927 Wien) war die Gattin von Aloys Riedler, Professor an der technischen Hochschule in Berlin-Charlottenburg. Ihr von Gustav Klimt geschaffenes, 1906 datiertes Porträtgemälde ist eines der Hauptwerke des Goldenen Stils und zeigt sich deutlich durch das von Diego Velázquez gemalte Bildnis der Infantin Maria Teresa inspiriert. Von diesem majestätischen Charakter sind auch die spätestens 1904 gezeichneten Studien für das Bildnis geprägt. Diese gehören zu den letzten Arbeiten, die Klimt mit schwarzer Kreide auf Packpapier gezeichnet hat; noch im selben Jahr (1904) sollte sich seine radikale Wende zu einer helleren Papiersorte und zur neuen Technik des Bleistifts vollziehen. Die dünnen Kreidelinien und die behutsam gliedernde Gestaltungsweise der Studien von Fritza Riedler kennzeichnen diese einmalige Übergangssituation.Auch in dieser Studie findet der Durchbruch des Künstlers zu einer geometrisch bestimmten Gestaltungsweise seinen deutlichen Niederschlag. Innerhalb der Konturen definiert Klimt mit subtilen, behutsam dosierten Linien die senkrecht fallende Boa, die eckig stilisierten Hände oder die in große Felder gegliederte Bekleidung. Der Blickkontakt mit dem Betrachter ist im Wesentlichen auf ein Auge reduziert, der Mund öffnet sich leicht, wie zum Sprechen. Obwohl das Studium der Stellungen und Gesten der für ihn posierenden Auftraggeberinnen im Vordergrund stand, lässt Klimt die wesentlichen Momente ihrer Mimik immer wieder aufblitzen. Diese Spannung zwischen der Spontaneität des Augenblicks und dem Anspruch des Ewiggültigen macht den autonomen Stellenwert seiner Studien für die Porträtgemälde aus.(Marian Bisanz-Prakken)
Rudolf WackerHerbststrauß mit Zitronenfalter1937Öl auf Sperrholz; gerahmt65 x 50 cmSigniert und datiert rechts unten: R. Wacker 37Rückseitig eigenhändig bezeichnet: B 50 H 65 / Rudolf Wacker / Bregenz / 1937 / "Herbst-Strausz mit / Zitronenfalter"1937 vom Großvater des jetzigen Eigentümers direkt von Rudolf Wacker erworben;Privatsammlung, Schweiz;durch Erbfolge Privatbesitz, Deutschland 1946 Bregenz, Vorarlberger Landesmuseum, Gedächtnisausstellung Rudolf WackerMax Haller, Rudolf Wacker 1893 - 1939. Biografie mit dem Oeuvre-Katalog des malerischen Werkes, Lustenau 1971, Nr. 339 (ohne Abb.)"Neue Sachlichkeit" war die Antwort vieler Maler der Zwischenkriegsjahre auf existentielle Fragen und eine von Krisen geschüttelte Lebenswirklichkeit. Die Schrecken des Ersten Weltkrieges weckten in der Kunst das Bedürfnis nach Ordnung. In dezidierter Abkehr vom Expressionismus kam es zu einer Rückbesinnung auf die Welt des Sichtbaren und auch auf malerische Traditionen. Rudolf Wacker zählt zu den bedeutendsten Vertretern der Neuen Sachlichkeit in Österreich.Unser "Herbststrauß mit Zitronenfalter" aus dem Jahr 1937, der im Werkverzeichnis von Max Haller unter der Nummer 339 dokumentiert ist, wurde bisher noch nicht in der Öffentlichkeit präsentiert und war nie zuvor am Markt zu finden. Unmittelbar nach seiner Entstehung wurde das Bild von einem engen Freund des Malers in dessen Atelier erworben. Mehr als acht Jahrzehnte lang befand es sich in einer Schweizer Privatsammlung und zuletzt durch Erbfolge in deutschem Privatbesitz.Wie viele seiner Zeitgenossen beobachtete Rudolf Wacker die politische Entwicklung der dreißiger Jahre mit wachsender Besorgnis. Er ahnte die Gefahr einer näher rückenden Katastrophe schon früh und setzte sich aktiv mit Briefen und Artikeln zur Wehr. Mit der massiv werdenden Bedrohung durch das Hitler-Regime setzte Resignation ein, sein Gesundheitszustand verschlechterte sich. 1937 besuchte er die Ausstellung "Entartete Kunst" in München. Nach dem Einmarsch der NS-Truppen in Österreich spitzte sich die Lage zu: im Mai 1938 fanden bei Wacker Hausdurchsuchungen und Verhöre durch die Gestapo statt. Er konnte sich von seinem Herzleiden nicht mehr erholen und starb am 19. April 1939.In diesen schweren letzten Schaffensjahren entstehen seine beeindruckendsten Blumenstillleben: die "Herbststräuße". Während er in früheren Bildern noch die Frische blühender Blumen darstellt, nehmen verdorrende Herbstblumen nun den größten Raum im Oeuvre ein. Berührende Worte aus dem Tagebuch des Malers spiegeln dessen Affinität zum Thema "Vergänglichkeit" und zur Symbolkraft verwelkender Blumen wider: "Verdorrte Sträusse - Sie haben nicht die gleissenden, aufdringlichen Farben frischer Blumen; stiller sind sie, wie aus Staub aufglimmend. Es liegt eine unbemerkte Schönheit in diesen im Sterben erstarrten Formen und nachglühenden Farben. Sie haben ihre sinnliche Üppigkeit verloren und - Symbole des Welkens und Vergehens, sind sie doch reich noch von den Spuren des Lebens und voller Bedeutung." (Rudolf Wacker, Tagebuch, 10.11.1934).Die für Wacker typische Leere des Hintergrunds nimmt den dargestellten Dingen ihren Ort und ihre Zeit. Bei unserem "Herbststrauß mit Zitronenfalter" schafft lediglich der Schattenwurf des Kruges einen räumlichen Anhaltspunkt und verankert die Blumen im nicht näher definierten, changierenden Braun-Grau des Bildraums. Der Kontrast von abstrakter Hintergrundfolie und Detailgenauigkeit in der Wiedergabe des Blumenmotivs ist charakteristisch und macht die Präzision der Malweise noch augenfälliger.Seine malerische Fertigkeit und die Kenntnis altmeisterlicher Lasurtechniken erlangte Wacker durch intensives Studium alter Meister in Museen, wobei sein besonderes Interesse den Stillleben- und Blumenmalern des 17. Jahrhunderts galt. In den Gemäldegalerien fand er auch durch den Kontakt mit Restauratoren und Kopisten Anregung und Hilfe beim Erlernen der "altmeisterlichen" Technik. In Anlehnung an die Bildtradition bevölkert Wacker seine Blumensträuße mit Schmetterlingen. Doch während diese bei konventionellen Stillleben ein lebendiges Beiwerk sind - ein tradiertes Symbol für das Werden und Vergehen der Natur - spießt Wacker seine Tiere demonstrativ mit feinen Nadeln auf und forciert damit die Konnotation des Todes und der Erstarrung.Bei Käufern waren Wackers Blumensträuße gefragter als andere Stillleben. So waren es die Blumenbilder und seine Leidenschaft für die Symbolik des Werdens und Vergehens, die Wackers große finanzielle Not am Ende seines Lebens mildern konnten.(Claudia Mörth-Gasser)
Karl SterrerDame mit blauem Kopftuch1967-68Öl auf Hartfaserplatte; gerahmt154 x 60 cmSigniert und datiert entlang des linken Bildrandes: K. STERRER 1967-68Rückseitig mehrfach auf Keilrahmen bezeichnet: Frau unserer Zeit / GEISTIGRückseitig Künstlerhaus-Etikett: 1962/613 (von Herrn Nikolaus Domes, Künstlerhaus Archiv Wien, bestätigt)Sammlung Rudolf Schmutz (1933-2017), Wien1962 Wien, Künstlerhaus Wien, "Frühjahrsausstellung 1962 mit Kollektionen: K. Sterrer als Gast, E. Beischläger, R. H. Keppel, C. Riefel.", Gastausstellung K. Sterrer "Tragik und Hoffnung aus der Not unserer Zeit. Ein Mahnmal", 04.04.-13.05.1962
Karl SterrerFrauenfigur1957Öl auf Hartfaserplatte; gerahmt100 x 54,5 cmSigniert rechts unten: K. STERRERDatiert links unten: 1957Rückseitig bezeichnet und datiert: FRAUEN UNSERER ZEIT / 1956/57 sowie auf altem Etikett bezeichnet: Nicht aus dem Temperament des Augenblick!Rückseitig Künstlerhaus-Etikett: 1962/619 (von Herrn Nikolaus Domes, Künstlerhaus Archiv Wien, bestätigt)Sammlung Rudolf Schmutz (1933-2017), Wien1962 Wien, Künstlerhaus Wien, "Frühjahrsausstellung 1962 mit Kollektionen: K. Sterrer als Gast, E. Beischläger, R. H. Keppel, C. Riefel.", Gastausstellung K. Sterrer "Tragik und Hoffnung aus der Not unserer Zeit. Ein Mahnmal", 04.04.-13.05.1962;1981 Wien, Galerie Peithner-Lichtenfels, Karl Sterrer, 12.06.-11.07.1981
Maria Lassnigo.T.1951Monotypie; gerahmt41 x 61 cm (Blattmaß)Handschriftlich bezeichnet links unten: MonotypieHandschriftlich signiert und datiert rechts unten: Lassnig 14951österreichischer PrivatbesitzDer Art-Club stellte in der Nachkriegszeit das wichtigste Forum fu?r junge, an neuen Richtungen interessierte Ku?nstler dar. Die um 1951 aufkeimende, abstrakt-geometrische Tendenz wurde jedoch von etlichen Mitgliedern abgelehnt, weshalb Lassnig mit Arnulf Rainer, Arik Brauer, Ernst Fuchs und einigen anderen Mitgliedern die "Hundsgruppe" gründet. Ein Stipendium ermo?glicht ihr im gleichen Jahr einen Aufenthalt in Paris, den sie in Form von zwei einmonatigen Reisen 1951 und 1952 gemeinsam mit Rainer wahrnimmt. Während der ersten Reise lernt sie Vertreter des Surrealismus kennen, es ist aber eine Ausstellung, in der sie erstmals amerikanische, italienische und franzo?sische informelle und abstrakt-expressionistische Werke sieht, die sie wirklich begeistert. Nach ihrer Rückkehr verarbeitet Lassnig ihre Eindrücke sofort in ihren Werken, unter anderen auch in Monotypien in blauschwarzer Öl-Farbe auf Papier. Es sind ausstrahlende oder glatt geschwungene Linienzüge, die sich, wie auch in den Kohlezeichnungen, nach und nach zu gequetschten, deformierten Kreisen entwickeln, Formen, die sich um eine zentrale schwarze Mitte herum anordnen."(…) die reine Geste wird in der Dauer Schwerpunkte, Konzentrationspunkte erzeugen. Man kann auch mit ihnen beginnen, sie verlieren und verlagern. (…)" (Maria Lassnig. Schriften. Malrezepte (1951-1960), in: Bormann/Hoerschelmann/Schröder (Hg.), Maria Lassnig. Ways of being, Ausst. Kat., Amsterdam/Wien 2019, S. 39) Stets bleibt in Lassnigs Arbeiten jedoch der Rückbezug von Form zur Körperlichkeit erhalten, wenn auch nicht auf den ersten Blick erkennbar. Doch bereits einige frühe Zeichnungen Ende der 40er Jahre stellten introspektive Erlebnisse dar und zählen somit zu den ersten Körperbewusstseins-Bildern, die ihr Werk prägen werden. Es geht dabei um das Verhältnis vom eigenen Innen und Außen, eine Art Befragung des eigenen Ichs, in dem das Amorphe, Unvollendete und sich Wandelnde eine große Rolle spielen.Gemeinsam mit Rainer organisiert sie die Ausstellung "Junge unfigurative Malerei" in Klagenfurt und formuliert dazu das Manifest "Keine Verteidigung". Damit wird erstmals in O?sterreich informelle Kunst in einer Ausstellung pra?sentiert, die jedoch floppt. Nachdem sich die "Hundsgruppe" wieder aufgelo?st hatte, pra?sentiert Lassnig erneut Werke, diesmal als Einzelschau im "Strohkoffer". Die Reaktion ist wieder ablehnend, insbesondere fu?r ihre Zeichnung "Informelles Kno?delselbstportra?t" von 1950/51 erntet sie Spott. Trotzdem lässt Lassnig sich nicht beirren – mit Erfolg: Zehn Jahre später werden jene Arbeiten als wesentliche erste Werke des österreichischen Informel begriffen und aufgearbeitet. Maria Lassnig zählt zu den Begründern des Informel in Österreich und ist heute wohl die wichtigste, auch international erfolgreiche österreichische Künstlerin. Sie verstarb im Mai 2014, ihre Werke sind in zahlreichen Ausstellungen und Museen zu sehen.(Ina Waldstein)
WILLIAM R. COOK (RICK) (AUSTRALIAN B.1972) - A GLASS FISH Crimson Series Fish, 2011 Provenance: Red Sea Gallery, Singapore, sold with certificate Length 30cm, height 13cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Longwy Pottery, a limited edition charger by R Rizzi, designed with a Peacock in a coastal garden, enamelled in colours printed and painted marks, numbered 30 of 30, 38.5cm diam.Condition report:In good overall condition, no chips, hairlines, or restoration. Craquelure glaze - intentionally crazed to the upper surface.
A sheet of A3 tracing paper of the original preliminary cutaway artwork depicting the iconic Armoured Personnel Carrier vehicle from James Cameron's 1986 masterpiece Aliens. Drawn by by John R. Mullaney in 2014.Commissioned by Insight Editions and 20th Century Fox Studios, the artwork formed a crucial stage of the approval process between studio and artist for the eventual art's publication in the high-end collectible title Alien : The Weyland-Yutani Report. Hand-drawn by John, the original artwork was approved by the studio and publisher as well as by a project Brain Trust of franchise consultants, comprising of prominent collectors, archivists and enthusiasts from the fan community. The artwork is as screen-accurate as available reference allowed, with the artist piecing together all the details using rare on-set production photography and film-stills to ensure a definitively canon reproduction of the vehicle's layout. The artwork evolved over an extensive series of approval versions, as John worked closely with project collaborator and 2D artist Graham J. Langridge to hone the detail. The artwork was then reproduced at large format size and carefully traced to form the set-up for the final full colour artwork which appears on pages 114-115 of The Weyland-Yutani Report.The artwork's evolution can be seen in a special making-of film produced by the artist who is also an award-winning film-maker. The time-lapse film has currently received over 60,000 views on Youtube, and continues to wow fans and viewersAbout the ProjectOf all the franchises John has been commissioned to illustrate, the Alien franchise remains his most personally beloved. Between 2005 and 2006 John created his self-initiated cutaway art of the Colonial Marines Dropship from the 1986 sequel as a proof of concept for an entire book of cutaways depicting the iconic craft and locations from the franchise. The artwork became a limited edition collectible produced by Acme Archives and rapidly sold out. In 2014 he was commissioned by Insight Editions to paint a cutaway of Aliens' APC which appeared alongside the Dropship art and 8 other new artworks of hardware from the franchise in high end collectible Alien: The Weyland-Yutani Report. The making-of film APC Cutaway : Special Edition which John created to promote his work in Insight's publication, continues to wow viewers seven+ years after its release amassing over 60,000 views on Youtube. Both the Dropship and APC cutaway originals artworks sold to a private collector. In 2018 John was commissioned to produce six new colour 2D artworks of craft from the series for Free League's Alien Role Playing Game title, with each piece rendered using the same intricate techniques as for his 3D cutaway work. Valuation note: the full colour artwork later sold to a private collector for £3,500. Click here to see the full gallery of John's work for Alien.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.
A sheet of 300gm watercolour paper of the original artwork produced by John R. Mullaney depicting the iconic USCMC Cheyenne Dropship from James Cameron's 1986 feature Aliens. Painted by John R. Mullaney in 2019. Paper measures 50 x 18,5cm.The art was commissioned by Free League Publishing and 20th Century Fox Studios as one of six new 2D vehicle artworks to appear in the 2019 title ALIEN : The Role Playing Game. The painting is as screen-accurate as available reference allowed, with the artist using rare on-set production photography and film-stills to ensure a faithful reproduction of the vehicle's exterior. Hand drawn and painted using multiple layers of watercolour washes, the original artwork was approved by the studio and publisher. The ship's decals and liverie were added digitally for greater accuracy and flexibility, but the artist has subsequently added these details by hand to enhance the original painting. The artwork appears on pages 144-145 of Free League's acclaimed RPG publication (see images, book not included in lot).About The ProjectOf all the franchises John has been commissioned to illustrate, the Alien franchise remains his most personally beloved. Between 2005 and 2006 John created his self-initiated cutaway art of the Colonial Marines Dropship from the 1986 sequel as a proof of concept for an entire book of cutaways depicting the iconic craft and locations from the franchise. The artwork became a limited edition collectible produced by Acme Archives and rapidly sold out. In 2014 he was commissioned by Insight Editions to paint a cutaway of Aliens' APC which appeared alongside the Dropship art and 8 other new artworks of hardware from the franchise in high end collectible Alien: The Weyland-Yutani Report. The making-of film APC Cutaway : Special Edition which John created to promote his work in Insight's publication, continues to wow viewers seven+ years after its release amassing over 60,000 views on Youtube. Both the Dropship and APC cutaway originals artworks sold to a private collector. In 2018 John was commissioned to produce six new colour 2D artworks of craft from the series for Free League's Alien Role Playing Game title, with each piece rendered using the same intricate techniques as for his 3D cutaway work. Click here to see the full gallery of John's work for Alien.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 filmmaker.
A sheet of A4 tracing paper of the original preliminary cutaway artwork produced by John R. Mullaney depicting the iconic Pulse Rifle from James Cameron's 1986 masterpiece Aliens. Drawn by John R. Mullaney in 2013. Page measures 35 x 21cm.This concept art was used to convey art direction given to ILM artist Drew Pace as a mock-up for a digital cutaway artwork of the weapon for a proposed in-universe publication called The Weyland-Yutani Files. Conceived by John and the Alien Brain Trust between 2012 and 2013, the project was ultimately surpassed by Insight Editions' The Weyland- Yutani Report - licensed by 20th Century Fox Film Corporation – for which John was chosen by Fox as one of the two illustrators.When planning the content for this title, the Pulse Rifle artwork was used as a proof of concept for weapons cutaways but ultimately the publisher did not have the budget for this and a full-colour non-cutaway artwork of the iconic weapon was instead produced. Working from photos provided by the Harry Harris collection, John's final colour artwork of the Pulse Rifle appears on pages 104-105 of The Weyland-Yutani Report (see lot images, book not included in lot).About The ProjectOf all the franchises John has been commissioned to illustrate, the Alien franchise remains his most personally beloved. Between 2005 and 2006 John created his self-initiated cutaway art of the Colonial Marines Dropship from the 1986 sequel as a proof of concept for an entire book of cutaways depicting the iconic craft and locations from the franchise. The artwork became a limited edition collectible produced by Acme Archives and rapidly sold out. In 2014 he was commissioned by Insight Editions to paint a cutaway of Aliens' APC which appeared alongside the Dropship art and 8 other new artworks of hardware from the franchise in high end collectible Alien: The Weyland-Yutani Report. The making-of film APC Cutaway : Special Edition which John created to promote his work in Insight's publication, continues to wow viewers seven+ years after its release amassing over 60,000 views on Youtube. Both the Dropship and APC cutaway originals artworks sold to a private collector.In 2018 John was commissioned to produce six new colour 2D artworks of craft from the series for Free League's Alien Role Playing Game title, with each piece rendered using the same intricate techniques as for his 3D cutaway work. Click here to see the full gallery of John's work for Alien.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 filmmaker.
A sheet of A3 tracing paper containing the original high-detail preliminary for the cutaway artwork of The Baneblade Tank as published in Warhammer 40,000 Apocalypse: Catacylismic Battles – 2013 / Published by Games Workshop. Drawn by John R. Mullaney in 2016. Measures 42 x 30cm.Commissioned in 2012, this precisely drawn high-detail artwork was the basis for the eventual full-colour artwork published the following year and underwent multiple changes before this final preliminary was approved by Games Workshop.The exterior of the Baneblade tank was set up using a photo of the vehicle's GW model kit, but the interior had never been seen before and required extensive collaboration between John and the GW team. Running with their brief that the interior should look like a 'World War II U-boat meets a Cathedral', John employed real world submarines and tanks as reference to achieve a mechanical verisimilitude. GW supplied John with a wealth of reference and instructions to create the look of the 40K architecture mythos & its characters, including the wealth of servo skulls, servitors and human gunners that inhabit the vehicle.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.
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.
A sheet of A3 tracing paper of an initial preliminary artwork depicting the legacy characters' route through Mos Eisley spaceport as featured in Star Wars Episode IV A New Hope. Drawn by John R. Mullaney in 2001.Measures 29.5 x 19cm. This artwork was produced as part of the planning process undertaken by the artist, DK art editor John Kelly and Lucasfilm's project consultant Curtis Saxton.The artist's brief was to produce an aerial cityscape view of the infamous “hive of scum and villainy”. But accurately plotting the buildings glimpsed in the Mos Eisley sequence required a forensic approach. By using shadow directions seen in the 1977 original as well as the 20th anniversary reissue edition, and matching background architecture that appeared in more than one shot, the team were able to calculate the relationship between buildings which line the route taken by Kenobi, Skywalker and the droids - from the outskirts of the city to the notorious Cantina, before they later head to Docking Bay 94. With the route plotted, the artist was then able to build up the rest of the spaceport ultimately creating one of his most ambitious and prestigious paintings to date, with the eventual artwork personally approved by George Lucas. Originally appearing on pages 12-13 of the original title: Inside the Worlds of Star Wars Trilogy, the art has been subsequently published in multiple reprints of the Inside the Worlds of Star Wars and Incredible Cross-Sections series.Two decades on from the creation of this vital first planning sketch, the final illustration remains the only published canon depiction of the city's layout in the franchise's history.About The Series In 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.
A sheet of A3 tracing paper containing the original high detail preliminary for the cutaway artwork of Truth and Reconciliation as featured in Halo Warfleet – An illustrated Guide to the Spacecraft of Halo (see images, book not included) licensed by 343 Industries and published by Egmont. Drawn by John R. Mullaney in 2016. Measures 42 x 25cm.This detailed artwork underwent extensive discussion as most of the internal elements had yet to be seen within the Halo universe, with just the Hangar seen in gameplay. A notable detail from gameplay present within the preliminary which did not make it into the final colour artwork is the bridge, the position of which proved too elusive for 343 to definitely locate within the ship. More than just a preliminary, this artwork acted as a high-detail blueprint for the final artwork, precise as the scale allows. Once approved, the artwork was then reproduced at large format size and carefully traced with a lightbox onto watercolour paper to form the set-up for the final full colour artwork. The eventual artwork which was set-up using this preliminary art appears on pages 62-63 of Halo Warfleet – An illustrated Guide to the Spacecraft of Halo.About The ProjectIn 2016 John was approached by illustrator Hans Jenssen asking if he would like to collaborate on a Halo cutaways project on which he was already working. This was a huge deal for John – given that just under two decades earlier John had begun his career in architectural illustration by forensically studying Hans' and Richard Chasemore's work in DK's first Star Wars Incredible Cross Sections title. Aspiring to one day work on these famous titles – which he did in 2001 – John has ever since based a great deal of his cutaway technique on Hans' work. Published by Egmont, licensed by the team at 343 Industries, and overseen by lead-writer of the Halo Universe Kenneth Peters, the book project saw Hans produce artworks of all the human-built ships in the book whilst John depicted the Covenant fleet. These ships’ organic curves and unusual design represented a departure from the more utilitarian designs seen in Star Wars and Alien, as well as an opportunity to apply new digital techniques to the hand painted artworks. Click here to see the full gallery of John's work for Halo.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.
A sheet of A3 tracing paper containing the original high detail preliminary for the cutaway artwork of High Charity as featured in Halo Warfleet – An illustrated Guide to the Spacecraft of Halo (see images, book not include) licensed by 343 Industries and published by Egmont. Painted by John R. Mullaney in 2017.Measures 29 x 34cmThe interior of this vast entity had never been seen before within the Halo universe, so the authors and illustrator spent significant time and effort establishing the internal layout and structure. The artwork evolved over multiple iterations with the artist setting up some of the geometry using 3D modelling, before transferring approved geometry to the high detail hand-drawn artwork which was then scaled up to form the basis for the full-size artwork. More than just a preliminary, this artwork acted as a high-detail blueprint for the final artwork, precise as the scale allows. Once approved, the artwork was then reproduced at large format size and carefully traced with a lightbox onto watercolour paper to form the set-up for the final full colour artwork. The eventual artwork which was set-up using this preliminary art appears on pages 56-67 of Halo Warfleet – An illustrated Guide to the Spacecraft of Halo.About The ProjectIn 2016 John was approached by illustrator Hans Jenssen asking if he would like to collaborate on a Halo cutaways project on which he was already working. This was a huge deal for John – given that just under two decades earlier John had begun his career in architectural illustration by forensically studying Hans' and Richard Chasemore's work in DK's first Star Wars Incredible Cross Sections title. Aspiring to one day work on these famous titles – which he did in 2001 – John has ever since based a great deal of his cutaway technique on Hans' work. Published by Egmont, licensed by the team at 343 Industries, and overseen by lead-writer of the Halo Universe Kenneth Peters, the book project saw Hans produce artworks of all the human-built ships in the book whilst John depicted the Covenant fleet. These ships’ organic curves and unusual design represented a departure from the more utilitarian designs seen in Star Wars and Alien, as well as an opportunity to apply new digital techniques to the hand painted artworks. Click here to see the full gallery of John's work for Halo.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.
Victory Medal to 49039 Pte George BUCKLEY, 19th Manchester Regiment, Loyal North Lancashire Regiment and RASC. Slightly wounded with Manc R and then more seriously wounded and hospitalized with the LNL Reg in April 1918. Comes with research including image of recipient, copied service papers and extracts from Battalion war diary covering the attack during which he was wounded.
Durham Yeomanry oval medal for Merit 1807, obverse engraved crown above crossed carbine and sword, between "G" and "R", above scroll engraved "Durham Yeomanry" with Merit below, all within continuous laurel border. Reverse engraved "Awarded to Mr Thos Aylott the Best Marksman in the Durham Yeomanry Cavalry by the Officers 19th August 1807", within laurel border, 65x 45mm, not hallmarked, integral loop suspender. VF £200-250
Rutland Legion: oval silver engraved regimental medal 1817, obverse: crown over crossed swords with "R" and "L" on either side, the Prince of Wales' plumes above 1817 between sword hilts, the legend "Pro Rege Et Populo" below. Reverse Pegasus with legend "Nile Concire Sibi" above and scroll "To the Most Worthy" below. Top with loop attached to scroll suspender. Oval piece measures 2-1/8" x 1-5/8". Pale gilt finish remains. GVF See "War Medals and Decorations" by D Hastings Irwin, p 267. £150-175
Admiral Vernon/ Porto Bello medallion 1739, obverse: half length portrait of Vernon, slightly to the left, legend "The British Glory reviv.d by Admiral Vernon", variety where Vernon's finger points to "R" of British; reverse: scene of the taking at Porto Bello with surrounding legend "He Took Porto Bello with Six Ships Only", and "By Courage and Conduct" in the exergue. NEF (very slight wear to tip of Vernon's nose). The Spanish took regular shipments of Gold and Silver from South America, the British had attacked Porto Bello in 1726 with 20 ships but, on that occasion, had failed, Vernon had boasted to Parliament that he could take the port with six ships only, this he completed. £60-80
Volunteer Movement, a most attractive AE medallion commemorating their 21st Anniversary. Obverse Queen Victoria slightly facing left in high relief, "V" and "R" on either side, legend "XXI Anniversary of the Volunteer Movement MDCCCLXXXI"; reverse St Michael standing guard over the armed representations of Anglia, Scotia and Hibernia and protecting the Mother Country, legend "Pro Aris et Focis"; Noel Paton Inv and Neil Machail SC. Diameter 63mm EF (I minor edge nick) £60-80
McCormack (John) John McCormack His Own Life Story, transcribed by Pierre V.R. Kay, 8vo Boston 1918. First Edn., illus. cloth stained; also Strong (L.A.G.) John McCormack The Story of a Singer, L. 1941 First Edn.,; Foxall (R.) John Mc Cormack, Lond. 1963; 7 others on Mc Cormack with newscuttings etc. As a lot, w.a.f. (1)
Postal History: Early 19th Century Album of Postal Markings & Franks, mostly on Free Fronts, 300 items in all, mostly Irish interest, some scarce signature, Henry Grattan, R. la Touche, Loftus, Ld. Waterford, Mount Cashel, Eyre Coote, Ormonda, Villiers Stuart, Gort & others. Some rare mileage marks, Florence Court, Dunleer, Portarlington, Cookstown, Fethard, Dungarvan, Derry, Roscrea, etc., 'Above the privileged number,' fancy 'Too Late,' varied Penny Posts & varied 'Free,' late mails, c.d.s.'s etc. As an album, w.a.f. Good. (1)
Westport House Copy Hall (Mr. & Mrs. S.C.) Ireland: its Scenery, Character, etc., 3 vols. sm. folio London 1841. First Edn., 3 engd. frontis, 3 decor. titles, 18 engd. single page maps, 47 engd. plts. plus text illus., a.e.g., in very fine full green mor., triple gilt fillet and large tooled gilt panels, profusely gilt spines in panels, with Westport House Armorial on all spines, bound by R. Stag. Very good attractive set. (3)
River Shannon: Burgoyne (J.F.), Jones (H.D.) & R. Griffith, Second Report of The Commissioners .. for the Improvement of the Navigation of the River Shannon; with Maps, Plans and Estimates, Folio Dublin (A. Thom.)1837. First Edn., 75 lg. folding maps & plans, hand coloured in outline, in recent quarter green mor., raised bands & mor. label. V. good. (1)
Hayes (Edward) The Ballads of Ireland, 2 vols. in one, sm. 8vo Lond. Edin. & Dublin 1855. First Edn., 2 decor. add. titles & 2 frontis, attractive str. grained mor., tooled gilt spine & mor. label. V. good; Hyde (Douglas) Abhrain Gradh Chuige Connacht or Love Songs of Connacht, 8vo Dublin & Lond. 1893. First Edn., orig. hf. mor. mor. label. Front loose blank, inscribed 'R. Caulfield Orpen Oct. 1893' 2 other sm. volumes. As a lot. (4)
Co. Carlow: 1830s - 1840s including the period of the Reign of Terror in Carlow and the Great Famine. Over 500 applications from Carlow residents registering to vote on forms titled "Oath of Householder" / Oath of Rent Charger / Oath of Freeholder / Oath of Resident Freeman / Affirmation of £50 freeholder.Recording name, address, occupation and signed by each householder. Witnessed and signed by Assistant Barristers, H. Hutton and James Bessonnet and Clerks of the Peace, Alex Humprey and Thomas Richardson. Among the unusual surnames documented are Haly ( Bishop of Kildare and Leighlin ), Galbraith, Silk, Gilder, Ebbs, Garagin, Spong, Voss, Gerrard, Hammel, Bagenal, Rich, Vigors, Budds, Bruen, Hone, Spearing, Stoyte, Annesley, Foyle, Hazelton, Tennant, Forth, Strahan, Hoburne, Stone, Rawson, Barden, Huband, Woodhouse, Faircloth, Sweetman, Birkett, Furney, Wellwood, Bowles, Ruddix, Bossford, Lancaster, Boardman, Kilfoil, Bacon, Barrington. Among occupations listed are Sergeant Major of Militia, Counting House keeper, Apothecary, White Smith, Delft Man, Glazier, Chandler, Hatter, Boat Builder, Jaunting Car Owner, Clothes Broker, Coffee House Keeper, Yeoman, Fruiterer, Attorney at Law. Printers of the documents were R. Price, F. Kavanagh, J. Wyer, J. Cahill, J. Lahee, J. Kirkwood and J. Browne. Housed in folders, as a collection, as m/ss., w.a.f. (1)
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