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Lot 60
30x Hornby Series O gauge 4-wheel freight wagons etc. Including tank wagons; National Benzole, Mobiloil, Shell, Castrol, Redline-Glico, BP, etc. Cadbury's Box van, Cattle van, Furniture wagon, Refrigerated wagon, SR Brake van, Snow Plough, Cement wagon, etc. QGC-GC, some wear/damage and some restoration. £50-70
Lot 61
30x Hornby O gauge timpate items. A Southern Railway clockwork M3 0-4-0T locomotive, 126, in lined green. Together with 29x freight wagons including; Castrol tank wagon, BP Spirit tank wagon, Cement wagon, NE guard's van, Saxa Salt wagon, Redline-Glico tank wagon, Royal Daylight tank wagon, LMS Snow Plough, Milk van, Wagon mounted crane, LMS open wagon, etc. QGC-GC, some wear/damage. £60-80
Lot 135
A Redline Motor Spirit enamel sign,in red and black on white, single sided, 91 x 122cm, weathered with some chips, loss and rusting. This lot is subject to the following lot symbols: ◊◊◊◊ £60 + VAT uplift and storage at £12 + VAT per lot per dayFor further information on this lot please visit Bonhams.com
Lot 374
Hot Wheels - Corgi Rockets - A vintage Hot Wheels 12 car Rally Case with 14 x vehicles including Redline Whip Creamer, Rockets Ford Capri, Rockets Morgan Plus 8 and similar. The items all show signs of play use, some have minor damage / parts missing. The overall condition of cars and case is Good. (this does not constitute a guarantee)
Lot 156
Matchbox & Other Small Scale Diecast, including 1-75 Series (19), HotWheels Redlines (2), Husky (2), Major Pack Dinkum Dumper, Superfast (4), one boxed, with Matchbox Lesney Series Sales & Service Station, in original box, F-VG, one Redline lacks three wheels, service station ramp damaged, boxes P-F (30)
Lot 147
Hornby 0 Gauge 'OAG-base' Tank Wagons and later Nestlés Tanker, OAG - based tankers including United Dairies super tanker, Redline petrol (both with very flaky paintwork), two red Shell tankers and green 'Pratt's', which appears over-varnished but has unusual square-cornered 'Hornby Series' motifs, varying F-VG, together with a later T3-base Nestlé's "super-tanker" in off-white and blue, VG, one top fitting slightly 'fatigued', the other evidently replaced, paintwork uncommonly good (6)
Lot 31
Boxed Pre-war Hornby 0 Gauge Tank Wagons, comprising cream 'Motor BP Spirit' (2), red 'Shell' (2), blue 'Redline-Glico' and 'Redline', buff 'Esso' (box dated 3-38), cream 'Shell-Mex/BP Motor Spirit', and uncommon deep orange 'Motor Pratts Spirit' with small drop-link couplers (circa 1930), all on T3 bases, mostly G-VG, boxes P-G (9)
Lot 183
1/43rd scale handmade resin model produced by Redline Models (Spark). A model of the car driven by Bruno Senna in the 2007, F430 Challenge for the Dealer Team GB.Ferrari F430 Challenge Trofeo Pirelli Bruno Senna No. 28 Ferrari Dealer Team GB Racing car, European Series 2007. 1/43 scale handmade resin model produced by Redline Models (Spark). Brand new and sealed, complete with display case and outer box. Very rare, 1 of 600 pieces and was not a regular Redline release, only given to VIPs.Specification
Lot 306
Hornby 0 gauge Tank Wagons, all with auto-couplers, comprising light grey 'Pool', Gargoyle Mobiloil, Castrol, Redline, Pratts 'High test' (orange), buff Shell/BP, rubber-printed Shell, three standard Shell, two red Royal Daylight and a third from M set without buffers, together with an orange 'Meccano' rotary tipper and blue/yellow 'McAlpine's' side-tipping wagon, varying F-VG (15)
Lot 123
A collection of x7 assorted vintage Dinky Toys diecast model cars and other vehicles comprising 255 Mersey Tunnel Police truck, Dodge Tipper Truck, Army 1 Ton Cargo Truck, Hindle Smart Helecs trailer, Speaker van and Redline-Glico truck (unsure of originality). Good collection of vintage Dinky Toys.
Lot 631
A large and impressive collection of approx 48x of vintage 1960's Mattel Hot Wheels Redline diecast model cars to include custom Volkswagen, Mustang, Corvette, Ford J Car, Rolls Royce Silver Shadow and others. Various variations and colours present. Models ranging from fair to good+ within original plastic display trays. Some badges present. A great childhood collection.
Lot 457
ROLEX OYSTER PERPETUAL AIR-KING AUTOMATIC BRACELET WATCH, ref. 5500, ser. no. L645***, circa 1990, stainless steel, blue dial, applied baton hour markers, white outer minute divisions with luminous dot five minute markers, pointed baton hands with luminous inserts, bracelet number 78350, with Rolex green box and outer Oyster box, various paperwork, Rolex travel pouch, and cased Rolex travel / pocket knife Provenance: deceased estate, consigned via our Carmarthen office Condition Report: the watch comes with Rolex guarantee dated 20/4/90 along with service guarantee, 2018 Laings valuation schedule and spare link. Watch back retains redline slicker, bracelet with similar sticker guard. Back unable to be opend. The watch itself appears in very good overall condition with no obvious issues, just very minor wear. Inner box in good condition, outer box may be a replacement but is genuine and has some damage to right hand side.
Lot 77
A Vintage Redline 1 Gallon pump, the blue-painted pump with Supafilla Dispensers Ltd of Southampton sign to top of container, bearing Board of Trade Notice No.1323, British Patent No.921521, with Redline signs to either sign, Redline transfer to main post and Redline Spirit to front, complete with hose, nozzle and turned wooden handle, 142cm high x 67cm wide x 35cm deep
Lot 203
Superbly presented, professionally prepared and considerable recent success.Based on an original 1961 ‘Frogeye’ Sprite and converted by County Lane Classics in 1991Features the original steel rear body, removable Sebring hardtop, a US-sourced fibreglass Sebring one-piece bonnet and fibreglass doorsPurchased after conversion by its previous owner, Andrew Actman, who used it to great effect over the years winning many international rally awards, hill-climb and sprint class wins, as well as countless class victories circuit racing including overall title honours in the Austin Healey ChampionshipFitted with a Peter May Engineering, full-race 1380cc, wet-sump, 4-cylinder A-Series.(4 hours since last rebuild)4-speed straight-cut gearbox (rebuilt 2020). 7.5″ AP racing clutch (new clutch plate 2020)New axle casing in July 2020 with Quaife ATE LSD, 4.2 ratioBrakes & suspension (lever-arm) to FIA Appendix ‘K’High-torque starter motor. High-capacity alternator.Safety Devices full bolt-in roll cage, Cobra racing seat, Lifeline fire extinguisher system (serviced Jan ‘19), TRS full harness (2022)Successfully raced in the Equipe Pre-63 Series since 2018 in the hands of Neil FisherDeveloped further by Redline Engineering Motorsport Division. Front-running car for the last two seasons, Class 1 Champions in 2019, many class wins as well as outright winners at Silverstone in 2019Huge amount of history in a superbly presented, leather-bound volume matched by a similar volume containing decades of race resultsSuperbly prepared and presented, fast, reliable and enormous funThe somewhat convoluted story of the Sebring Sprite has been well documented in the past, from the class-winning trio of cars prepared by Donald Healey for the 1959 Sebring 12 Hours Grand Prix d'Endurance. (prototype Dunlop disc brakes, wire wheels, larger SU carbs, twin-plate racing clutches and straight-cut close-ratio gearboxes) through Stirling Moss’ success in the separate four-hour race for GT cars of under one litre at Sebring in 1960, John Sprinzel’s arrival at Austin-Healey with his Frank Costin-designed Speedwell GT and the legendary success of the 5 ‘Works’ and 2 Sprinzel cars at Sebring in 1961, through to the mid-sixties when over a dozen small firms were building their own streamlined bonnet, fastback versions of the Speedwell GT and Sprinzel Sebring utilising Mk1 and 2 Sprites (latterly the MG Midget) and marketing them as ‘Sebring Sprites’.Pleasingly, the fabulous little red racer on offer here is based on an original 1961 ‘Frogeye’ Sprite and is accompanied by one of the most smartly presented, leather-bound ‘History Files’ that we have ever seen. From the V5, it appears that 108 CPX was originally registered on 25/07/1961 and its more recent history starts in 1991 when the ‘Frogeye’ (imported from the US) was converted to a ‘Sebring Sprite’ by County Lane Classics retaining the original steel rear body and adding a removable Sebring hardtop, a US-sourced fibreglass Sebring one-piece bonnet and fibreglass doors.On 11/05/1995, the finished car was acquired by Andrew Actman, who used it to great effect over the years winning many international rally awards, enjoying hill-climb and sprint class wins, as well as countless class victories circuit racing including overall title honours in the Austin Healey Championship. The full details of the Sprite’s 20 years of adventures in competition with Andrew are in the car’s Results File. There are dozens of invoices relating to running the car during this period and they amount to over £20,000. A couple of the more recent ones are from Norfolk Classic, the first dated 17/12/2015 (£4,764) for a new Carbon Fibre roof and bodywork repairs and the second dated 26/04/2016 (£3,761) detailing the subsequent mechanical rebuild.108 CPX became the property of our vendor on 5/03/2018 and, being somewhat fastidious by nature, he invested in preparing and presenting the little Sprite to his normal high standards. The impressively maintained history file displays over a dozen detailed invoices from Sebring Sprite experts, Peter May Engineering, from March 2018 to March 2020, totalling over £12,000 for competition development work that enabled it to become a front-runner in the Equipe Pre-63 Series since 2018 in the hands of Neil Fisher. Developed further by Redline Engineering for Neil, resulting in the Class 1 Championship in 2019 with many class wins as well as an outright win at Silverstone in 2019. Full details of the last two seasons results are naturally in the file.The packed Owner’s File also contains a FIVA Identity Card, FIA Historic Regularity Rally Pass, a copy of the original ‘Homologation’ papers for the 948cc Austin-Healey Sprite, a rolling-road printout dated 29/08/2019 indicating 129.3bhp, paint swatches (Mitsubishi New Red /Rover Old English White) and much more.Those of us sufficiently ancient to remember the Frogeye at sprints and draughty old airfield circuits during the early sixties will recall just how ‘right’ they looked as racers, and some sixty years later, that still applies. 108CPX on a full grid today would still attract all the attention and the fact that it’s well developed, impeccably maintained, super competitive and as ‘pretty as a picture’ is simply a bonus.Some specification details supplied by our vendor.Peter May Engineering, full-race 1380cc, wet-sump, 4-cylinder A-Series.(4 hours since last rebuild)4-speed, straight-cut gearbox (rebuilt 2020)Weber 45DCOE carburettor.New axle casing July 2020 with Quaife ATE limited-slip differential, 4.2 ratioLever-arm front and rear dampers. (rears 1 race old)Front & rear brakes & suspension to FIA appendix KMk1steel body / lightweight roof & doors / fibreglass bonnet7.5″ AP racing clutch (new clutch plate 2020)Dunlop tyres 4.5 LHigh-torque starter motor.High-capacity alternator.High-capacity aluminium radiator.Fuel hoses in lightweight Black Aeroquip hose & fittingsOil cooler with lightweight Black Aeroquip hose & fittingsNewly rewired dash with Stack rev counter‘Momo’ steering wheel with quick-release boss‘Safety Devices’ full bolt-in roll cage.Competition exhaust system, silencer re-packed by Haywood & Scott, January 2020Lightweight propshaft 2019.Lifeline fire extinguisher system, serviced Jan.’19‘TRS’ full-harness belts 2022Cobra racing seatSpares; Supplied with the followingMinilite 6″ x 13 alloy wheels on Yokohama tyres x 4Box of assortment suspension & brake partsSpecificationMake: AUSTIN HEALEYModel: SEBRING SPRITEYear: 1961Chassis Number: AN5-437R5Transmission: ManualDrive Side: Right-hand DriveMake: RHDClick here for more details and images
Lot 335
1987 Honda VFR400R, 399 cc. Registration number D228 CHG. Frame number NC21-1015119. Engine number unknown. The first generation of VFR400 was the 1986-1987 NC21, which had replaced the VF400F when the Honda VF series was phased out (mainly due to reliability issues with the head and cam chain). This model came in 4 designations, "R", "Z", "K" and a police version with the "P" designation. The "R" model (VFR400R) being the most common. Between the designations multiple colour schemes were also available. The "R" had a full fairing and single headlight. The "Z" model was semi fared (side fairings and belly pan) and had 2 round headlights. The "K" and "P" both had a single round headlight and bar risers to give a more upright riding position. All designations had a single piece seat for rider and pillion, 3 spoke cast wheels, an aluminium frame with steel rear subframe, and a conventional dual-sided aluminium swing arm with single shock. The clutch was hydraulically actuated and the front left fork featured Honda's TRAC (Torque Reactive Anti-dive Circuit) system with adjustable dampening on the right fork. This had 4 stage adjustment on the bottom of the fork. Both forks featured air assist. The engine was a 180° degree crank firing version, and had a rpm redline of 13000rpm on the "R" and "Z", the "K" and "P" had a redline of 14000rpm. The 2nd generation was the VFR400R NC24, produced for the 1987 and 1988 model years, it was one of the first production Honda motorcycle to utilise an ELF-designed Pro-Arm single-sided swinging arm followed by the third generation, the VFR400R NC30 in 1988. Restricted to a maximum of 59.8bhp for the Japanese market, these early models were not officially imported into the UK, unlike the successor NC30. Boasting exemplary build quality but at a fraction of the cost, the smaller NCs are among the most collectable classics of recent times. CHG was imported into the UK in January 1997 and August 1918 it had a front end overall at a cost of some £230 at Track and Road. Our vendor bought it soon afterwards and has replaced both tyres, the battery and had the exhaust collection box restored. Offered for sale with the V5C and the Road and Track receipt.
Lot 390
Daisy Patton Untitled (10th grade 1954), 2020 Oil on Archival Print Signed verso 12.7 x 10.1cm (5 x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Lot 391
Daisy Patton Untitled (Sincerely, Aleycal Matsumura 1938), 2020 Oil on Archival Print Signed verso 12.7 x 10.1cm (5 x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Lot 392
Daisy Patton Untitled (Three Women with Blue Curtain and Silver and Yellow Leaves), 2019, 2020 Print on Paper Signed recto, blank verso 15 x 10cm (5¾ x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Lot 393
Daisy Patton Untitled (L.B. 1937 Westchester Photo Finishing Co. Dec. 7 1936), 2018, 2020 Print on Paper Signed recto, blank verso 15 x 10cm (5¾ x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Lot 3414
Hornby O Gauge Locomotive, Rolling Stock And Accessories No.1 Special c/w 0-4-0 LMS 4312 (G box F); No.1 Passenger coaches LNER and LMS, Redline petrol tank wagon, LMS meat van and Gas cylinder wagon (in incorrect box) (generally G boxes G); Platelayers hut, Signal cabin, Straight tunnel and Windsor Station (generally E boxes G) together with a Signal gantry, track and other accessories
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