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A collection of nine boxed Corgi , Classic Models including Eric Carlsson's Saab 96 rally car, Ferrari 250 GTO, Ford Cortina Saloon, Porsche 356b etc lot also includes a boxed Corgi limited edition Rover mini and a limited edition boxed "The buses of silver service, containing one AEC Regal and one Bedford OB Coach.
Two boxed Corgi Premium Edition Post Office Collection die-cast vehicles including "Albion Clydesdale Dropside Trailer" Post Office Supplies Dept and "Bedford TK Box Van" Post Office Telecommunications, along with two boxed Corgi Premium Edition Building Britain Collection die-cast models including "H.E. Musgrove & Sons Ltd" Bedford O Artic Dropside and "Tarmac" Land Rover Winch & 2 Wheel Trailer.
A collection of die cast including nine boxed Matchbox, The Dinky Collection including 1949 Land Rover, 1952 Citroen 15 CV, 1967 Ford Mustang Fastback, 1948 Tucker Torpedo, 1959 Cadillac Coupe De Ville, 1968 Jaguar E type etc. Lot also includes a Corgi Classics boxed Greyhound Yellow Coach with Battle of Britain livery, a boxed Autoart Metropolitan Police Range Rover, a boxed Matchbox Iveco tipper truck, plus a Dinky Toys Foden Tipping Lorry (box damaged)
Four framed prints including, a photographic print of a statue, a limited edition print of Exeter Cathedral (signature illegible) , plus a limited edition print of Paul Doyle's Borderland featuring a Border Terrier behind the mud flap of a land rover, plus a rural scene of a mother and daughter picking flowers (signature illegible).
Four Dublo Dinky Toys: 070 AEC Mercury tanker, with windows, grey treaded wheels (NM-BNM); 066 Bedford Flat truck, grey treaded wheels (VG-E) (BE); 071 Volkswagen Delivery van, black treaded wheels (E-NM) (BE); 073 Land Rover with trailer, both with smooth wheels, green door on trailer, light brown horse (NM-BE-NM)
Four Dublo Dinky Toys, all (G-BG-E): 066 Bedford Flat Truck, smooth grey wheels; 064 Austin Lorry, smooth grey wheels; 065 Morris Pick Up, smooth grey wheels; 073 Land Rover & trailer, black treaded wheels, black ramp, brown horse. With a clear plastic display box 054 Dinky Toys Railway Station Personnel (M-BNM)
Dinky Toys boxed farming-related group of 4 to include, No. 27K Hay Rake (NM-BE), No. 27N/301 Field Marshall Tractor (VG-BF), No. 340 Land Rover in orange with red hubs and a blue interior with correct colour spot box - the model would benefit from a clean (G-BG) and No. 341 Land Rover Trailer in green with correct colour spot box (VG-BG)
Dinky Toys group of 4 boxed commercial models to include, No. 965 Euclid Rear Dump Truck in pale yellow with minor play wear, the box has the original packing piece (VG-BVG), No. 922 Big Bedford Lorry in maroon and tan in the original blue striped box with correct colour spot (E-NM,BVG), No. 563 Blaw Knox Heavy Tractor in burnt orange with green wheels and driver figure - the tracks are still soft (VG-E,BG), and No. 255 Mersey Tunnel Police Land Rover (VNM-BG)
A tray containing 6 Dinky Toys to include, 3x No. 30B Rolls Royce - with one in blue, one in grey and one in fawn - this model has a replacement grille and has had some overpainting to the running boards, and 3x No. 36D Rover Saloon - with one in light blue, one in dark blue and one in green - all models in generally excellent condition
Corgi Toys 2 boxed models to include, No. 275 Rover 2000TC, metallic green body with amber glazing and take off wheels, in the original blue & yellow window box with header card, crease to header card (VNM-M,BE-NM), and No. 271 Ghia 5000 Mangusta with Di Tomasso chassis, comprising of white and blue body with gold bonnet stripe and removable chassis, housed in the original plastic packed window box, damage to the box window (VNM,BG)
One tray containing a collection of Corgi Toys to include, No. 1137 Ford Tilt Cab with Trailer "Express Service" (G-BF), No. 112 Rice Horsebox (VNM-BG), a partially boxed gift set 17 Land Rover and Ferrari on Trailer, unboxed Commer Chassis with detachable rear body sections, 2 empty Corgi boxes - No. 251 Hillman Imp and No. 416S RAC Land Rover, some Golden Jacks spare wheels and other items
Corgi Toys Gift Set No. 23 Chipperfields Circus comprising booking van, circus crane truck, two animal cage wagons, Land Rover and trailer with elephant transport box, all in the original polystyrene packed box, models are all very near mint and come with bagged animals and "POLAR BEARS" decal sheet all housed in a sturdy box. (NM-BE)
Corgi Toys gift set No. 22 farming models to include various farm vehicles and accessories, contents to include Fordson Power Major Tractor, plough, Massey Ferguson Combine Harvester, Massey Ferguson 65 Tractor with loading shovel, tipping trailer, Land Rover, Platform Trailer with milk loads and 2 tractor driver figures, the contents are all in very good to excellent original condition - all housed in a very well made reproduction box
A collection of mostly Corgi and Dinky Toys models to include, Corgi No. 651 Concorde 'Air France', No. 1009 MG Maestro, Corgi Juniors No. 1007 Ironside's Truck, Dinky Toys No. 351 UFO Interceptor (the box is a reproduction), No. 103 Spectrum Patrol Car, No. 192 Range Rover and other models - also included with the lot is an Airfix 1/44 scale kit of Apollo Saturn V Rocket
Marcel BreuerEarly and rare 'Long Chair', designed 1935-1936, produced circa 1935Laminated birch plywood.69.5 x 62.5 x 137 cm Seat manufactured by Venesta, Estonia for Isokon Furniture CompanyLtd., London, United Kingdom. Front of seat stamped MADE IN/ESTONIA. Frame manufactured by Isokon Furniture Company Ltd., London, United Kingdom. Footnotes:ProvenancePrivate collection, LondonAcquired from the above by the present owner LiteratureChristopher Wilk, Marcel Breuer Furniture and Interiors, exh. cat., Museum of Modern Art, New York, 1981, pp. 127, 145Jack Pritchard, View from a Long Chair: the memoirs of Jack Pritchard, London, 1984, front cover, frontispiece, pp. 90, 113, 120, 179Martin Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991, p. 35Magdalena Droste, Manfred Ludewig and Bauhaus Archiv, Marcel Breuer Design, Germany, 1994, pp. 29, 132-133James Peto and Donna Loveday, eds., Modern Britain: 1929-1939, exh. cat., Design Museum, London, 1999, pp. 90, 92Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, pp. 319, 384Alastair Grieve, For Ease For Ever, London, 2004, pp. 4, 28, 30, 33, 42Hugh Aldersey-Williams, British Design, New York, 2010, p. 70Christopher Wilk, Plywood A Material Story, London, 2017, front coverGive and Take: The Cosmopolitanism of British DesignBy Glenn AdamsonINDEPENDENT WRITER AND CURATOR, NEW YORKOn the second of June, 1961, the SS Canberra - billed as the 'ship of the future' - set sail from Southhampton, bound for far-off Australia. On board were over two thousand people, about half of them intending to emigrate permanently, and a wealth of art and design. There was a restaurant and pool by Sir Hugh Casson. Harry Bertoia's diamond chairs for Knoll, upholstered in canary yellow, graced the 'crow's nest.' And down in the cleverly titled Pop Inn – a jukebox lounge – an interior by John Wright was enlivened with pyrography murals by a 23-year-old artist by the name of David Hockney.Wright's armchairs from the SS Canberra are an obvious reminder of the internationalism of British design; they were literally sent on the high seas as emissaries of a newly energised nation. But many other objects in the present sale performed similar roles, or conversely, reflected global currents of influence. Marcel Breuer's prewar 'Long Chair,' a masterwork by the great German designer, was principally manufactured in Estonia of high-quality Baltic birch. Aluminium die-casting, which Ernest Race used to such effect in his iconic BA3 chair, was pioneered in America, and first applied to furniture by Otto Wagner in Austria. Race adopted it in 1945 to take advantage of British manufacturing capacity in the metal, which had dramatically increased during World War II. Lucie Rie, born and raised in Austria, is considered the most significant of all British potters, having emigrated in 1938 to find refuge from the Nazis. Though her flared bowl with its luminous gold rim was made many years later, it reflects the refined sensibility she imbibed in prewar Vienna. Today, when Britain's role in the world is hotly debated, it is salutary to remember how very cosmopolitan its design history has been, even (and perhaps especially) in the years when its empire was breaking apart. This is true of ideas just as much as technology. The potter Bernard Leach, despite his reputation for introverted traditionalism, was actually a marvelously syncretic thinker. The 'Tree of Life' that appears on the vase in the present sale was originally inspired by ancient cave paintings in China. Leach loved the motif above all, though, because it appears in the art and mythology of so many cultures. Meanwhile, at first glance, William Plunkett – who, as it happened, created designs for another ocean liner, the QE2 – would seem to be the most British of designers. Trained at Kingston School of Art, he operated his own small manufactory in Croydon and even liked to upholster his seating in Harris Tweed. Yet he was born in India, a child of empire, and while his Epsom chair may be named for a town in Sussex it takes its stylistic cues primarily from contemporaneous French designers like Pierre Paulin.At the other end of the aesthetic spectrum from Leach's earthy earnestness and Plunkett's finely calibrated modernism, there is the rough and tumble phenomenon known as Creative Salvage. This was the design equivalent of New Wave, the post-punk movement in music, and similarly combined sharp intellectualism with a freewheeling experimental spirit. Though the movement wasn't named until 1985 (by Mark Brazier-Jones, Nick Jones, and Tom Dixon), its progenitor was Ron Arad, who had relocated to London from Tel Aviv to study architecture. His shop One Off, founded in 1981, quickly became the engine room of avant garde British design – a space where the new was both made and shown. Arad's use of found objects and materials, as seen in his Rover Chair and Tree Light, were pragmatically expedient, but also indebted to the Duchampian Readymade – an import from France and the USA. As a final example, consider Deborah Thomas, who operated in the wider orbit of Creative Salvage. She made her way into design from the London theatre scene, and showed primarily at the Notting Hill gallery Theme and Variations. All very British, you might say. Yet it's impossible to look at her compositions of shattered glass without seeing the impact of Arad's work, or equally, her anticipation of sculptural lighting that followed in the succeeding decade, notably by the German designer Ingo Maurer (whose famous Porca Miseria! fixture, made of broken crockery, was designed in 1994). So far as I know, nobody ever decked out an ocean liner with Thomas' ferociously brilliant chandeliers and sent it around the world, bearing a message of Britain's deep connections to everywhere else. Maybe the time has come?This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Ron AradEarly 'Tree Light', designed 1983, produced mid-1980sStandard English steel conduit pipes and junctions with flexible goose-neck tubes, concrete base.154 cm high fully extended Produced by One Off Ltd., London, United Kingdom. Base moulded One Off ©.Footnotes:ProvenanceOne Off, Covent Garden, London, mid-1980sAcquired from the above by the present ownerLiteratureDeyan Sudjic, Ron Arad: Restless Furniture, London, 1989, pp. 54, 81, 85Deyan Sudjic, Ron Arad, London, 1999, pp. 21, 32Gareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 137Turkeys Can Fly By Nick Wright The co-author of Cut and Shut: The History of Creative Salvage, London, 2012. 'I don't like Creative Salvage, as a term and as a band wagon,' Ron Arad said. 'Why?' 'I don't like wings.' Whatever his antipathy to wings, there is an interplay between Arad and Creative Salvage (Tom Dixon, Mark Brazier Jones, Nick Jones and André Dubreuil). Arad staged Dixon's first solo exhibition at One Off and the dialogue continued through their work. Drawing on a lost chair designed by Jean Prouvé, the 'Rover' chair's (lot 23) form was a readymade of sorts, the seat chosen from a scrapped Rover P6. Choice is integral to any design process and Arad's choices were honed at the Architectural Association. Designed by Spen King and Gordon Bashford, the Rover P6 had innovative suspension, an engine bay engineered to accommodate a gas turbine and an ergonomic interior an architect could appreciate. In fact, just how right was Arad's choice of the P6 seat is illustrated by just how wrong the choices of his copyists are: Jaguar seats look antique, the Rolls Royce seats of the Top Gear rip offs are lumpen. The Rover seat seems the only choice for a chair now so famous one thinks of it as a post-production prototype for Jean Prouvé's lost original. Choice also lies at the root of Arad's antipathy to Creative Salvage. Lacking his architectural education, Dixon, Dubreuil and Brazier-Jones junkyard choices were based on decorative value. Ornate railings, Victorian fireplaces, overblown castings – 'wings' – were sampled. Moreover, because they fitted no preconceived design, the results were hit and miss. For all the naivety of Creative Salvage however, for all the 'mistakes' – what Andre Dubreuil recalls as the 'stupid things we made' – a development from talented scrap merchants to designers became evident. Dixon first tried something resembling his 'S' chair in 1986. He said the idea came from a chicken. James Garner, his engineer, said it came from the tank badge on his BSA Bantam. The result was a kneecapped turkey. Dixon took another shot. Following Arad's example, he used car components. The base was formed of a steering wheel, the frame continued down from the knee and was wrapped in rubber cut from a Land Rover inner tube. A now resolved form, it was 'the smell of road' which impeded sales. The final version was rushed. They flew.Young designers in 1980s Britain were hindered by a furniture industry uninterested in innovation so they began self-producing using ready-mades. As they developed, both Arad and the other members of Creative Salvage employed fabricators to realise their increasingly complex designs. Dixon employed James Garner (who still makes his chairs), Michael Young and Thomas Heatherwick. Arad worked with Jon Mills, a metal worker from the Black Country making automata in a Brighton workshop. In 1987 Mills came to London to show Arad slides of his work. Six weeks later the 'Little' chair (lot 26) was exhibited at One Off along with larger works like the 'Reading Couch'. Sheet steel mimics upholstery, steel buttons add to the illusion of plush comfort. A similar illusion was created by Arad in his 'Big Easy'. When asked about his pioneering work in volumetric steel Mills replied: 'It would be very nice if Ron had been inspired by something I'd done. I'm sure I'd seen Marc Newson's 'Lockheed Lounge' chair in Ron's gallery'. All designers borrow from scrap yards, from each other. The question is less about where the idea originates than to what extent it becomes recognisably its author's. The 'Big Easy' may resemble an overstuffed Victorian chair rendered in steel but it is Arad's 'Big Easy'. Definitively. Dixon began sampling Victoriana from Chelsea Harbour junkyards yet produced a design classic. No matter its 'spectacularly ugly' antecedents or its borrowings - from a chicken or Bantam, from Rietveld and Marzio Cecchi, even Arad; in its final form the 'S' chair (lot 28) is a beautifully resolved design by Tom Dixon. Definitively.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Ron Arad'Rover' chair, designed 1981, produced mid-1980sChromium-plated steel, cast iron, Kee-Klamps, leather Rover car seat. 74.5 x 69.8 x 91 cmProduced by One Off Ltd., London, United Kingdom. Frame with label printed ONE/OFF/LONDON/01-379 7796.Footnotes:ProvenanceOne Off, Covent Garden, London, mid-1980sAcquired from the above by the present ownerLiteratureDeyan Sudjic, Ron Arad: Restless Furniture, London, 1989, pp. 31, 48Deyan Sudjic, Ron Arad, London, 1999, p. 10Marie-Laure Jousset, Sir Christopher Frayling and Jonathan Safran Foer, et al., Ron Arad No Discipline, exh. cat., Centre national d'art et de culture Georges Pompidou, Paris, 2008, pp. 64, 72Gareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 138This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
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23930 item(s)/page