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Lot 305
A Zeis Ikon Super Ikonta BX Camera, 533/16, 1937-52 version, no name number embosed to back, possable re-cover, shutter working, light meter responsive, light meter scale loose in window, rangefinder funcions, viewfinder cloudy, some deterioration to light meter window, body G, bellows G, with Carl Zeiss Jena 8cm f/2.8 Tessar lens, serial no 2301132, elements G, some fungus, in worn case
Lot 375
A Banjo Barometer by Frederick Welbourn of Thirsk, c.1860, in rosewood, with silvered 24cm dial and alcohol thermometer mounted on silvered scale, 102cm overall. Note: With its mercury the buyer must collect this barometer from Flints Thatcham offices. We do however provide a free service to remove mercury for shipping.
Lot 391
An Ivory Sector by William Elliott, with the usual English scales and additional scales for laying out sundials, Inclination of Meridians, Latitude, Hours, and the appropriate scale of Chords, signed 'W Elliott & Sons 56 Strand London' (W Elliott & Sons traded from this address 1850-1853); with an ivory scale rule/protractor and an antique ivory rule cut down to fit a pocket case (3)
Lot 16
Laetitia Yhap (b.1941) Conversation, 1981 Liquitex on printed Vilene 58 x 76 cm Hastings Museum and Art Gallery is celebrating Laetitia Yhap’s 80 years of ‘Vital Life’ and work this year with an exhibition of her paintings and drawings chronicling the working lives of the town’s fisherman.* Born in London during the Blitz to an Austrian mother and Chinese father, Yhap studied at Camberwell School of Arts and Crafts and in 1962 travelled to Italy for a year on a Leverhulme Scholarship studying Renaissance art and architecture. On her return, she was a postgraduate student at the Slade School of Fine Art in London before moving to Hastings. She recalls: “I had arrived in Hastings in 1967 and was making large scale watercolour and tempera paintings which excluded the human presence. For me the only way to understand the extraordinary world and work of the fishermen, was to do it the slow way by drawing from direct observation out of doors. I did not possess a camera and it would not have occurred to me to use one. The first 18 months of research was spent entirely and exclusively drawing. Later, as I became familiar with the scene, I made paintings and more complete drawings could be developed. It was always important to me that the people I depicted were recognisable.” Yhap is represented in public collections including the Arts Council of Great Britain, the British Council, the Contemporary Art Society, the Government Art Collection, Hastings Museum and Art Gallery, Hove Museum and Art Gallery, New Hall Cambridge, the Nuffield Foundation, Rugby Museum, South East Arts Collection, Tate, Unilever, University College London and the Walker Art Gallery in Liverpool. * My Vital Life: Laetitia Yhap at 80 at the Hastings Museum & Art Gallery. The Covid-19 pandemic necessitated a digital version of the exhibition and the artist’s gallery tour can be viewed on the website. However, now selected watercolour paintings and drawings will be on view in Museum’s Walkway Gallery until 2 January 2022.
Lot 714
GENTLEMAN'S LIMITED EDITION BREITLING SUPEROCEAN CHRONOMETER STAINLESS STEEL AUTOMATIC WRIST WATCH, number 1952/2000, model A17364, the round blue dial with silver coloured and lume filled hour markers, count up scale in blue, date aperture at 3, unidirectional bezel with blue insert, 42mm case, on a blue rubber strap, lacking box and papers
Lot 724
VOSTOK SOVIET ARMY 'KOMANDIRSKIE' 1945 - 1990 COMMEMORATIVE STAINLESS STEEL MANUAL WIND WRIST WATCH, the round silver coloured dial with Soviet Navy flag above a warship, marked 17 Jewels with '????? ?? ????’ to the dial edge translating to 'By Order of the Ministry of Defence of the USSR', baton and wedge hour markers with outer dot markers and seconds track in black, date aperture at 3, with red and black count up scale bezel, 42mm case including crown guards, with 445799 and '?????????????????' translating to 'waterproof', lacking strap, with papers stating the date of purchase as March 1990
Lot 730
RUSSIAN 'FIRST MOSCOW WATCH FACTORY' KIROV PILOTS MANUAL WIND WRIST WATCH, the round black dial with logo of the manufacturer above the red star of Russia, Arabic hour markers with 24 hour scale inside, railroad outer seconds track in white, subsidiary dial at 9, 45mm case, the movement bears the markings '???, 1???, ??????' translating to 'Public Commissariat for engineering, First State Watch Factory, Moscow', on a black leather strap, lacking box and papers
Lot 1377
Based on Claude Monet's "La Japonaise" (Camille Monet in Japanese Costume), this unsigned oil on canvas is a faithful hand-painted copy of Monet's large scale portrait of his wife in splendid kimono surrounded by fans. Overall size: 26 1/2 x 22 1/2 in. Sight size: 15 1/4 x 11 1/4 in. Please note that all sales are final. No refunds will be given under any circumstances.
Lot 376
With three pillars under as is shade, electrified. Oscar Bruno Bach (German/American, 1884-1957) German born craftsman Oscar Bruno Bach was one of the most technically skilled and commercially successful figures in the field of decorative metalwork during the first half of the 20th century. His design and production ranged from small utilitarian designs for the home to grand-scale architectural elements. His style was as diverse as his use of metals and included Arts & Crafts, Gothic and Tudor Revival, Spanish Baroque, French Directoire, English Chippendale, and American Art Deco. Thematically he was particularly fond of the zodiac, of lush scrolling grapevines, classical masks, mythological symbols and elements of the Italianate and Germanic grotesque. Oscar Bach's work can be found in the permanent collections of The Metropolitan Museum of Art, The Minneapolis Museum of Art, The Wolfsonian, and Reynolda House. During his lifetime, Bach was interviewed and featured in numerous magazine articles and trade publications, and was most notably celebrated by renowned art critic and author, Matlack Price, in a publication entitled, "Design & Craftsmanship in Metals: The Creative Art of Oscar Bach." Metal artisan and innovator Oscar Bruno Bach died on May 4th, 1957 at the age of 72. Size: 10 1/2 x 9 1/2 x 33 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.
Lot 3144
Cohen & Co of Manchester - a late Victorian gent's silver cased pocket chronograph, having a fine outer scale, Roman dial, centre seconds, dial numbered 8/3541, the case with engraved vacant cartouche to back cover, silver inner back cover, the keywind movement signed to the backplate and numbered 83541, with stop/start chronograph function, case assayed Chester 1882, case dia.59mm, on silver curblink watch chain with Albert, chain length 34cm, gross weight 233gCondition report: In running order.All functions working.Dial good.Glass with minor surface abrasions only.Case good with modest age wear only.Chain good, marks good.
Lot 3164
A gent's Ebel Classic Wave chronograph automatic wristwatch, ref. 9126F43, having a signed black dial with triple subsidiary dials, fine outer scale, date aperture at 4 o'clock, screw-down bezel and back cover numbered 58516875, case dia.40mm, on rubber bracelet, with box and papers, circa 2009Condition report: In running order.Chronograph fully functioning.Case, dial and glass all good.Appears very little worn.Bracelet good.
Lot 1021
Two rare vintage plastic collectable scale model Guns approx. 26" long, one in the form of an Italian over and under shotgun with an acoustic "bang", the other an eight shot cylinder rifle. The cylinder pushes out to show its capacity and spin, it also has an under leaver cocking action, including a scaled matching cartridge belt/bandolier with nine cartridges.
Lot 345
William S Mycock for Pilkington, a Royal Lancastrian triple lustre vase, 1923, globe and shaft form, painted in iridescent blue, silver and red with a fruiting grape vine on dark blue ground, below a fish scale neck, impressed and painted marks, 20.5cm high Provenance: Richard Dennis Pilkington's Pottery exhibition 1980, number 117; illustrated in Cross, A J, 1980, Pilkington's Royal Lancastrian Pottery, p.35, pl.xxi
Lot 350
Walter Crane and William S Mycock for Pilkington, a Royal Lancastrian lustre Pegasus vase, 1932, twin handled moonflask form, painted with a winged horse within foliate scroll border, the reverse with coat of arms within ribbon border, the rectangular foot with lappet scale decoration, in bronze iridescence on blue ground, impressed and painted marks, 27.5cm high Note: illustrated in Corbett, A & B, 2016, Pilkington's Lancastrian and Royal Lancastrian Pottery, A Guide for Collectors, p.190
Lot 2471
A Gentleman's Jaeger LeCoultre Military Issue Pilot/Navigators wristwatch, circa 1943, having a signed off-white dial with Arabic numerals and track outer scale, the steel cased back marked with War Department arrow 6/B 159 A13845 and further numbered 158457, on a replacement black leather strap, 32mm (excluding crown.)
Lot 169
ALEXANDER GOUDIE (SCOTTISH 1933-2004) LA VIE EN ROSE Signed, oil on canvas(152cm x 122cm (60in x 48in))Footnote: Note: The history of art is full of examples of significant relationships between artists and patrons: indeed, it is not an overstatement to say that they make the art world go round. Alexander Goudie, a leading Scottish painter of the 20th century Glasgow school, found a long-term supporter and lifelong friend in John Thomson, the prominent Glasgow architect and interior designer of the company Weddell & Thomson. Inspired by his trips to the city’s museums as a young boy, Thomson’s adult life revolved around his appreciation of art and aesthetics. When creating an interior, Thomson keenly encouraged his clients to decorate their walls with original artwork by contemporary Scottish artists. In this way, and through his own extensive personal collection, he was friend and patron to a great many of the artists active that time on the Scottish art scene, including David Donaldson, Alberto Morrocco and John Cunningham. Goudie’s work, however, clearly had a particular appeal for Thomson; reflected in the significant examples that featured in his collection. Thomson, now sadly deceased, spoke of the frisson of anticipatory excitement he would experience prior to his trips to the artist’s studio, and long convivial evenings biding at Goudie’s home with a drink in hand. Praising Goudie’s strong draughstmanship and vibrant palette, he credited the artist with converting him away from Victorian era artworks to the wave of talent on his own doorstep. Lyon & Turnbull are pleased to offer for sale one of the key pieces from the Thomson Collection, the monumental ‘La Vie En Rose. Both intimate in mood and dramatic in scale, it is a relatively early work and depicts the artist’s wife and muse, Mainee. It is a fine example of the most significant aspect of Goudie’s oeuvre: the portrait. Paisley born, the young Goudie went on to study under David Donaldson at the Glasgow School of Art. It was here that his work resolved to embrace the strong tradition of portraiture that the School boasts. Detectable in his aesthetic lineage are the influences of greats including Sir John Lavery and Francis C. B. Cadell. This is traceable in his the lushly applied paint and bravura brushwork. He too was drawn to sophisticated interiors, and created an aesthetic that cleverly walked the line between the contemporary and classical.
Lot 4053
Local Interest, Derby and Derbyshire - a collection of maps and ephemera, comprising, Derby, Board of Health Map, 120in: 1 mile, engraved and a printed in colour by Bemrose 1852, originally in four sheets each of 99 x 66cm: two copies SW section, also NW and NE sections; County Borough Council, Architects? office, C. H. Aslin, CBE, Central Improvement Plan phase 2 1944 (not built), in which it was envisaged that the centre of the town would be entirely rebuilt around a new plaza on the site of the Market Place: map of intended layout of Market Place from Albert St to the Cathedral, also map of revised traffic flow in and around the town centre, of which only Traffic Street was built 95 x 98cm each; Derby map, 1815, complied from original sources and drawn on cartridge paper by Kevin Archer of Littleover, with key to locales, armorials, MS signature of the compiler with date April 2001, 55 x 76cm; Allestree Lordship map, 1727, copy drawn from the original by Kevin Archer of Littleover, cartridge paper, Mundy armorial 36 x 45cm; Facsimile map of Derby 1791 after George Moneypenny, on cartridge paper, 33 x 30 cm; Derby OS 1:2500 map 1884 edition, copies of sheets XLIX.16 (California), L.13 (Derby E), LIV.4 (Littleover and Normanton (two), LIV.8 (Sinfin), LV.1 (Peartree & Osmaston) & LV.5 (Cottons); two reproduction prints of Bemrose lithographs showing Derby from the Meadows, and Derby from Exeter Bridge, c. 1847, both printed on cartridge paper and named, each 40 x 30cm; Conduct and Proceeding of the Rebels in Derby, reproduced in facsimile from the Derby Mercury 9/12/1745, being the paper?s account of Bonnie Prince Charlie?s stay in Derby 4-6th December 1745, with other similar extracts printed in facsimile on the reverse; Ashbourne, facsimile of the 1830 map of the town by the ?pupils of Mr. Jones?s Academy? scale 44yds: 1in., with two vignettes (church and hall) 63.5 x 43.5cm; Bolsover Civic Society poster 88 x 62cm printed on cartridge paper with descriptions, plans and elevations of buildings including the Castle 1982; Egginton, map printed on cartridge paper embellished with vignettes and descriptions, drawn 1994 in aid of St. Wilfrid?s parish church at the request of Sir Henry Every, Bt., signed by the artist, 64 x 45cm; Long Eaton Hall: three copies of Erewash Borough Council drawings made in 1922 by H. Raven, Long Eaton Urban District Council surveyor when it was proposed to purchase the property as the town hall: block site plan 46 x 77cm; plans of the hall and outbuildings by H. Raven scale 8ft:1in, 100 x 70cm & east, south and west elevations of the hall 8ft: 1in H Raven 75 x 54cm; Radbourne, three plans copied from originals in the County Record Office: plan of 1711 drawn by Thomas Hand showing the previous house and immediate surroundings 84 x 59cm; copy of a plan of part of the estate, mid-18th century 42 x 29.5cm, also copy of William Emes?s map of 1790 showing his proposed alterations to the landscape 83 x 60cm; Renishaw Hall glossy poster 42 x 59cm advertising exhibition John Piper at Renishaw September 1999 with large colour print after Piper of Montegufoni (Sir George Sitwell?s Italian house); South Wingfield, facsimile of the tithe award map 1845 (DRO 13b) 86cm x 86cm; Genealogy: two hand scrivened pedigrees relating to the Tymperley family: pedigree of George Arderne and Sibyll Arderne of Tymperley, Cheshire, showing descent from Sir John Tymperley via John Chatterton, abstracted from the Heralds? Visitation of Cheshire 1580, 48 x 60cm, also pedigree of Tymperley of Hintlesham, Suffolk, abstracted from the Heralds? Visitation of Suffolk, 1664, 31 x 45cm, the latter in clear plastic carrying tube, (qty)
Lot 7
2007 ROLLS-ROYCE PHANTOM DROPHEAD COUPE. Registration Number: XXI 37, Chassis Number: SCA2068058UH07002, Engine Number: 60583963 . This Rolls Royce Phantom Drophead Coupé is the second of this model ever to be produced, of only 3,000 to be made in Goodwood. The first car off the production line was sold for $2,000,000 at auction in Florida and XXI37 was used for the press launch. In 2015, the Phantom Drophead was the most expensive Rolls-Royce model, retailing at $533,000. Three Drophead Coupés were used in the 2012 Summer Olympics closing ceremony, with British Pop Stars Jessie J, Tinie Tempah and Taio Cruz all singing from them. 'This is a truly unique car and one that exudes top-notch pedigree. Just seeing one is a real occasion, and that's before you get behind the wheel.' Car Magazine. Luxury and driving experience are obviously paramount in the design of the Phantom Drophead. It is a prime example of how BMW managed to rejuvenate the Rolls-Royce brand post-acquisition. It started out life in 2004 as an experimental display model called 100EX, built to celebrate Rolls-Royce's centenary. The clamour from enthusiasts to put the car into production was so strong that the first Drophead, remarkably similar to the 100EX, appeared in 2007. It made a triumphant appearance at the Detroit Motor Show and was much heralded by the automotive press. Among its unique features It has its own dedicated lightweight aluminium space frame, exclusive to the Drophead model, which accommodates the convertible design and provide extra stiffness. Inspired by the beautiful Riva luxury boats, the car has a yacht-like appearance with a teak tonneau roof cover and door caps. Front opening coach doors make it easy to access the rear seat and can be opened and closed at the press of a button.Luggage is housed within a picnic boot, a split tail compartment that opens in two parts giving easy access to the of space. The tailgate also provides a comfortable seating platform for two adults when lowered. Careful engineering of the folding soft-top roof means that it stows in a small space, and the luggage compartment remains unaffected regardless of whether the roof is up or down. The fabric hood is the largest of any modern convertible car and its acoustic insulation is exemplary. Five layers of material lined with cashmere ensure that the cabin remains a serene space, even at speed. The scale of the car is matched by the massive 21 inch wheel rims. Rolls-Royce set out to make a car curated to the individuality of each driver, with thousands of options available for each build. Indeed, XXI37 features some of the most expensive ones, which is befitting for a press launch car. The car is finished in a beautiful combination of Admiral Blue metallic with a brushed steel bonnet. This bonnet is machine finished at the factory to give a uniform grain, before undergoing extensive hand polishing to achieve a perfect sheen. At the rear, the teak decking is treated by Rolls-Royce with a carefully blended mix of oils. This preserves a natural finish and a long-lasting lustre that is as beautiful as it is hardy. The interior is finished with a beautiful rosewood veneer dash and cream leather upholstery. The details inside are remarkably "Rolls-Royce", notably the engraved Phantom silver logo and stunning umbrella holders in both doors. The exterior has a fine white coach line painted with an exceptionally steady hand. Under the bonnet is clean example of the massive 6.75 litre 435bhp V12 engine, a widely regarded extraordinary machine. The engine that has huge amounts of power and yet remains quietly dignified. Capable of 0 to 60 mph in 5.7 seconds and a top speed of 149 mph, the car exhibits incredibly high performance. At the same time, it is so quiet when idling that you would think the engine was switched off. The drive quality is so supreme that the experience is often referred to as the "magic carpet ride". There is ample service history supporting the car, with only 39,000 miles driven, it has clearly been well maintained and always garaged. An original brochure and recent service records are also present with the car.In the Phantom Drophead, Rolls-Royce have created the ultimate convertible model for luxury touring, a car that epitomises prestige. Production ceased in 2016 and the company has announced that there are no plans to make a Drophead version of the latest Phantom VIII saloon, making this the last of a vanishing breed. The sale of XX137 offers the buyer a chance to join a canon of privileged motorists.Buyer's Premium on lots 1 - 18 10% (plus VAT), All other lots 25% (plus VAT). For viewing information for lots 1- 12 please contact William Batt on 01305 265080 or email william.batt@dukes-auctions.com
Lot 277
Chinese porcelain Gu vase, decorated in green, orange, yellow and blue enamel colours with Ho-ho birds amidst foliate scrollwork, cartouches on scale reserves, and stiff leaves, unmarked, 23.5cm high (a/f)Condition report: Large section of flared neck reattached and the break is visible both internally and externally. Section to foot approx 4cm wide has been reattached and overpainted. Ceramics & Glass/OrientalWe endeavour to mention any post-production damage we can see, either with the naked eye or a magnifying glass. Where requested, we will place the item under UV light to check for professional restoration. We do not automatically mention such standard occurrences as fine glaze crazing or kiln dust which are by-products of manufacture as opposed to signs of damage.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Lot 303
Japanese carved ivory double carp netsuke, the two fish opposed, with realistic scale details, remnants of signature beside cord hole, 5.5cm longCondition report: Good order, but one cord hole obscures signature (so drilled after signing).Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Lot 507
George IV mahogany stick barometer, Watkins & Hill, 5 Charing Cross, London, the signed silvered two-piece scale reading from 27 to 31 inches of pressure, flanking exposed main tube beneath arched pediment, the plain trunk with turned cistern cover, 96.5cm highCondition report: Silvered plates are tarnished to top and bottom as seen in images. Otherwise sound.Clocks, Watches, Musical boxes and other mechanical itemsWhilst we endeavour to mention losses or alterations where obvious, we do not guarantee the movement or accuracy of any mechanical items in the sale and our assessment is purely cosmetic.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Lot 532
Early 19th Century inlaid mahogany-cased twin fusee bracket clock, Robert Simpson, London, (c.1782-1839), No. 87, 7-inch convex white Roman dial and moon hands, inscribed 'SIMPSON LONDON, the chain fusee movement with backplate engraved 'Rob't Simpson London No 87', within decorative border, the break-arched case with leaf-capped carry handle, brass bezel, ebony stringing, arched brass fish-scale side frets, and brass ball feet, 37cm high excluding handle Condition report: Dial blacking faded. Movement small and set high within case. Typical minor cracking to arch. Sold with pendulum and later winder (no door key). Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Lot 61
A Musee de la marine, 1/150th scale plan of the 74 gun warship "Le Superbe" in a gilt wooden frame. 87 cm x 116 cm.Footnote: Provenance: Direct from the estate of Nancy Fouts (1945-2019)See the Dawsons website article for further informationCondition report: some knocks to the frame and some dog earing to the borders of the paper.
Lot 120
A Parcel-gilt Silver and Niello Cartographic Boxmark of Feodor Bushkovskii, Velikii Ustiug, 1822rectangular with cut corners, the hinged cover with a niello panoramic view of Velikii Ustiug seen from the left bank of the river Sukhona, with a Russian descriptive banner above, the reverse nielloed with a map of the Vologda region on stippled gilt ground, with keys, scale and distance chart, the sides with coat-of-arms of Vologda region, bright-cut rims on the cover and sides, gilt interior, 84 standard length: 9cm (3 9/16in); width: 6.3cm (2 1/2in). Footnotes:ProvenanceChristie's, London, anonymous sale, 9 June 2009, lot 138Acquired at the above by the previous ownerPrivate collection, UKThence by succession to the present ownerFor comparable silver-gilt and niello cartographic cases, see A. von Solodkov, Russian Gold and Silver, Fribourg, 1981, pp. 106-107, nos. 116-120.For further information on this lot please visit Bonhams.com
Lot 38
Soviet Rocket sculpture, 1970Aluminium, silver painted inscribed with Cyrillic initials 'A.M.I' and dated '70' on base height: 290 cm (114 3/16 in).Footnotes:ProvenanceAcquired by Dr Frank Malina, an American aeronautical engineer and painterThence by descentAlexei Isayev (1908-1971) was a rocket engine designer who contributed and managed the Soviet Space Program partnered with Soviet Chief Designer Sergei Korolev. Specialising in small-scale, liquid-fuelled rocket engines, Isayev designed newest missiles (R-11) the Scud which are still in use today. In 1954 he designed the engines for the Surface to Air Missiles and the Burya booster rocket and in 1961, the retrofire TDU engine, powered the first spacecraft (the Vostok). This engine sent the first astronauts into space and the Zenit satellites. In 1966 his team produced the KTDU-35 engine which was used for the unmanned probes to the Moon for a decade, the larger engines were used for Soyuz and Salyut spacecraft as well as in the Mir space station, from 1971 to 1999. The modified version of this engine is still used to this day. Once retired, Isayev built and designed artifacts and furniture for his friends, as the present lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 91
Valery Koshlyakov (Russian, born 1962)Alexandria signed in Cyrillic, titled and dated '1995-1998' (verso) tempera and acrylic on canvas150 x 150cm (59 1/16 x 59 1/16in).Footnotes:'I work with the pure terrifying category which is inaccessible to man—the tragedy of dying, fading,' - Valery Koshlyakov.Valery Koshlyakov studied at the Grekov Art College in Rostov-on-Don and has become well known for his large-scale paintings of historical monuments, political scenes, and ruins. The present work creates a sense of the passing of time and melancholy, of history fading and the destruction of greatness. He fashions evocative architectural masterpieces, with monumental subjects that in ways cry paradoxically of a failed ideal world. By naming this piece as Alexandria, one cannot but think that the artist might be depicting his own version of the Library of Alexandria. This city named by the Macedonian Alexander the Great, became the capital of knowledge and learning as the library was known to encapsulate all the literature of the civilised world and became a meeting place for all the famous ancient scholars. However, for the viewer, he seems to base the building on a more familiar building, the Parthenon in Athens. To the right is a depiction of a winged Nike that was probably based on the Nike of Samothrace (the Greek goddess of Victory which is displayed at the Louvre). The sculpture was found in the sanctuary at Samothrace and the Nike was an important symbol to the Macedonian kings. The Nike stands out as it is the most detailed aspect of the painting. The sculpture, which is renown in art history for its flowing drapery, is almost three-dimensional in perspective, moving toward the viewer as if alive and floating amongst the rubble below. The broken marble, as if a sketch, in the left-hand corner gives a sense of destruction and desolation, and this is reinforced by the ghostly head in the bottom right corner of the painting. The romanticised artwork reminds one of P. B. Shelley's poem and the great Ozymandias laying shattered 'Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare, The lone and level sands stretch far away.' This romantic and philhellenic painting depicts the ancient world but in numerous dizzy unfinished details. The texture created by the vigorous brushstrokes make this landmark into a half idealised and partly precarious monument in the air. The cloud-like, as if watered down paint, gives an effect of the empty ruins of Alexandria becoming encapsulated in the eerie past, leaving it desolate. Koshlyakov said; 'Here yesterday, gone today. It's an eternal human theme, and the pictures—they are metaphors of this thought, like mourners.'This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 149
Atlases.- Britain.- Bacon (G. W.) New Large-Scale Atlas of the British Isles, 103 maps or plans with contemporary hand-colouring, one map detached and frayed at margin but not affecting image, some light spotting to first few pp., contemporary half calf, gilt, calf worn with joints splitting, folio, G. W. Bacon, 1892.
Lot 151
Atlases.- London.- Bacon (George W.) New Large-Scale Ordnance Atlas of London & Suburbs with Supplementary Maps..., title, contents, two index maps, one for nine-inch scale and the other four-inch scale maps, with 34 double-page maps at nine-inch scale, 25 double-page maps at four-inch scale, four double-page geological maps of the environs of London, and 10 further supplementary maps, lithographs printed in colours, each double-page approx. 350 x 525 mm (13 3/4 x 20 3/4 in), occasional finger-soiling, surface dirt and minor browning, original gilt calf covers, rebacked and edges restored, folio, [circa 1886]Provenance:W.C. Rand [bookplate to pastedown]
Lot 161
America.- Senex (John) and John Maxwell. North America Corrected From The Observations Communicated to The Royal Society of London and The Royal Academy of Paris, large two-sheet map, one of the earliest large-scale English maps of North America, showing from Panama to Baffin's Bay in the north, the first state (of five), engraving with original early hand-colouring in outline, on laid paper with Strasburg lily watermark, total sheet 980 x 670 mm (38 1/2 x 26 1/4 in), old folds with numerous splitting repaired verso, folds with some associated loss, numerous nicks and tears, handling creases, surface dirt and light browning, unframed, 1710; together with 4 further maps of North America, including Harris & Son's 'North & South America', another by Cary, and two maps published by John Murray 'A Chart of the Discoveries & Route of the Northern Land Expedition, Under the Command of Captain Franklin, R.N. in the Years 1820 & 21...', and 'Route of the Expedition from York Factory to Cumberland House', engravings, various sizes, all unframed, 19th century (5) Literature:[Senex] Stevens & Tree 61a.
Lot 213
South America.- Bellin (Jacques Nicolas) Carte Reduite des Costes de la Guyane Depuis la Riviere d'Orenoque Jusqu'au Cap de Nord, a l'Entree de la Riviere des Amazones, large-scale map of the coast of Guyana, engraving with full hand-colouring, on thick laid paper with text-based watermark, platemark 590 x 900 mm (23 1/4 x 35 1/2 in), good margins, old folds, some with repaired splitting, minor nicks and handling creases, unframed, 1760; together with 18 further maps of South America, including John Senex's large map 'South America Corrected...', Cadell & Davies' 'Peru', and others by Kitchin, Bellin, Pitteri, and others, engravings, various sizes, all unframed, [18th and 19th century] (19)
Lot 243
NO RESERVE London.- London Topographical Society (publisher) & John Rocque. Rocque's Map of London, 1746, facsimile edition, including key sheet and 48 separate maps, collotypes with hand-colouring, original scale, each sheet approx. 430 x 570 mm (17 x 22 1/2 in), key sheet with browning, surface dirt and nicks and tears, the map sheets with occasional nicks, small tears and small losses to extremities, loose, unframed, [circa 1913-1919].
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