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Lot 348
Mixed collection of Formula 1 model cars comprising 4 boxed racing cars by Spark, all 1:43 scale, including Vodaphone McClaren Mercedes 2011, Force India VJM04 2011, Sauber C30 Ferrari 2011 and Lotus 76 1974 Jacky Ickx, together with 11 assembled Kyosho Ferrari racing cars, 1:64 scale, most with information cards, and a model 1956 Ferrari D50 by IXO in presentation tin and with original outer box (16)
Lot 555
A QUANTITY OF ASSORTED TOYS, to include boxed Schuco plastic remote control Porsche 924 Turbo, No.25-8674, 1/20 scale, not tested but appears complete and in fairly good condition, boxed Marx plastic clockwork Midget Racer, not tested but appears complete and in fairly good condition, box damaged, a boxed Knights Head Precision Models Mangle, appears complete with instructions and spanner, boxed Sacul 'The Waggly Duck Family', fairly good condition box damaged, boxed Marx plastic battery operated Traffic Light, box damaged, Schuco plastic battery operated Mercedes Benz 200 Police Car, not tested, missing several parts, boxed Meccano Super Tool Set, unboxed Hong Kong and other plastic and rubber car models etc., Tinkertoy Construction Set (not checked) (2 boxes)
Lot 339
Anselm Feuerbach 1829 Speyer - 1880 Venedig Landschaft, Felsgestein. Um 1857/58. Öl auf Leinwand. Ecker 293. 74 x 62 cm (29,1 x 24,4 in). PROVENIENZ: Kunsthandlung Fritz Gurlitt, Berlin. Privatsammlung Bayern (seit den 1920er Jahren in Familienbesitz). LITERATUR: Hermann Uhde-Bernays, Feuerbach: beschreibender Katalog seiner sämtlichen Gemälde, München 1929, Nr. 158 (m. Abb.). Fotokonvolut: Wolfgang Gurlitt-Archiv, Bildarchiv Foto Marburg, Bilddatei-Nr. fm145146 (www.bildindex.de/document/obj20418121). Anselm Feuerbach erreicht in den 1870er Jahren große Bekanntheit als Vertreter einer neuen Schule mythologisch-literarischer Historienmalerei, wie sie neben ihm die sogenannten Deutschrömer Arnold Böcklin und Hans von Marées aus der Taufe heben. Großformatige Bilder wie „Medea“ (1870, Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München) oder „Iphigenie“ (1871, Staatsgalerie Stuttgart) überführen die Grandiosität und Erhabenheit, die er in seiner Wahlheimat Rom gefunden zu haben meint, in ihr visuelles Äquivalent. Während seiner ersten Studienjahre an der Düsseldorfer Akademie begegnet er Größen wie dem aus dem Umkreis der Nazarener geprägten Wilhelm von Schadow, und dem Vorbild romantischer Landschaftsmalerei Johann Wilhelm Schirmer. Künstlerisch prägend ist für ihn ebenso die Zeit im Pariser Atelier des Historienmalers Thomas Couture. 1855 reist Feuerbach über Venedig nach Rom, wo er sich bis 1872 mit nur vereinzelten kurzen Unterbrechungen aufhält. Feuerbach ist ebenso auf der Suche nach einer Idealität und dem Fortwirken antiker Erhabenheit, wie er sie in den italienischen Menschen – wie insbesondere seiner über alles verehrten Muse Nanna – aber auch in der seit Jahrhunderten dort existierenden Natur zu finden glaubte. So entstehen auch einige Landschaften von mysteriöser Wirkung. Menschenleer und trotzdem auf seltsame Art beseelt in seiner zerfurchten und verschatteten Struktur, in der Hitze vor dem blauen Himmel aufragend scheint der zerklüftete Fels ideale Heimstätte für Wald- und Naturgeister wie Faune und Dryaden. Feuerbachs derzeitige römischer Malerkollege Arnold Böcklin führt diese Vorstellung 1858/1860 mit dem im Schilff versteckten oder aus dem Gestein auftauchenden Pan, einen Hirten erschrecken, malerisch aus. (Neue Pinakotheks sowie Sammlung Schack, München). Im schattigen Gras am Boden liegend und beobachtend, scheint man als Betrachter:in nur auf das Auftauchen der Naturwesen zu warten. Die Landschaft wird – ähnlich wie Feuerbachs Vorgehen in seinen Historiengemälden – trotz ihrer ruhenden Monumentalität zum bewegten Gefühlsträger, in dem sich die Empfindungen des Realen mit dem Idealen und der Imagination zu vermischen beginnen. [KT] Aufrufzeit: 10.12.2022 - ca. 15.22 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAnselm Feuerbach 1829 Speyer - 1880 Venedig Landschaft, Felsgestein. Um 1857/58. Oil on canvas. Ecker 293. 74 x 62 cm (29.1 x 24.4 in). PROVENANCE: Art dealer Fritz Gurlitt, Berlin. Private collection Bavaria (family-owned since the 1920s). LITERATURE: Hermann Uhde-Bernays, Feuerbach: beschreibender Katalog seiner sämtlichen Gemälde, Munich 1929, no. 158 (with illu.). Fotokonvolut: Wolfgang Gurlitt-Archiv, Bildarchiv Foto Marburg, image file no. fm145146 (www.bildindex.de/document/obj20418121). In the 1870s, Anselm Feuerbach achieved great fame as a representative of a new school of mythological-literary historical art, which he created alongside the so-called “Teutonic Romans” Arnold Böcklin and Hans von Marées. Large-scale paintings such as “Medea” (1870, Bavarian State Painting Collections, New Pinakothek, Munich) or “Iphigenie” (1871, State Gallery of Stuttgart) translate into their visual equivalent the grandiosity and sublimity he believed to have found in his adopted hometown of Rome. During his first years of study at the Düsseldorf Academy, he met famous artists like Wilhelm von Schadow, who was inspired by the Nazarenes, and Johann Wilhelm Schirmer, the paragon of Romantic landscape painting. His time at the Paris studio of the historical painter Thomas Couture also had a formative effect on him. In 1855, Feuerbach traveled first to Venice and then on to Rome, where he stayed with brief interruptions until 1872. Feuerbach searched for an idealism and a continuation of ancient sublimity which he believed to have found both in the Italian people – especially in his idolized muse Nanna – and in the nature that had survived there for centuries. His search gave rise to a number of landscapes that are imbued with a mysterious effect. Deserted and yet strangely animated in its ragged and shaded structure, towering in the heat against the blue sky, the craggy rock appears to be the perfect abode of forest and nature spirits like fauns and dryads. Feuerbach’s fellow artist in Rome, Arnold Böcklin, painted this concept in 1858/1860, with Pan hiding in the reeds or emerging from the rocks, frightening a shepherd. (New Pinakothek and Schack Collection, Munich). Lying on the ground in the shady grass, looking on, the viewer seems to be waiting for the emergence of the mystical creatures. Similar to Feuerbach’s approach in his historical paintings, the landscape – despite its dormant monumentality – becomes a turbulent vehicle of emotions, merging perceptions of reality with the ideational and the imaginative. [KT] Called up: December 10, 2022 - ca. 15.22 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 351
Wilhelm Trübner 1851 Heidelberg - 1917 Karlsruhe Großherzog Ernst Ludwig von Hessen und bei Rhein. Wohl 1904. Öl auf Leinwand. Vgl. Rohrandt G 278. Rechts oben monogrammiert. 76,5 x 62 cm (30,1 x 24,4 in). Wir danken Herrn Dr. Klaus Rohrandt, Kiel, für die freundliche wissenschaftliche Beratung. Das Werk wird in das Werkverzeichnis aufgenommen. PROVENIENZ: Privatsammlung Rheinland-Pfalz. LITERATUR: Vgl. Joseph August Beringer, Trübner: des Meisters Gemälde in 450 Abbildungen, Stuttgart 1917, S. 278. Zur Entstehungszeit dieses Porträts ist Wilhelm Trübner auf der Höhe seines Erfolgs angekommen. Nach seinem Studium in Karlsruhe, München und Stuttgart hatte er auch im Austausch mit Künstlerkollegen wie Corinth, Slevogt und Liebermann zu seinem farbkräftigen und pastosen, breiten Stil gefunden, der nicht nur seinen Landschaften eine prägnante Kraft verleiht. 1904 ist er Direktor der Karlsruher Kunstakademie, an der er ebenso 1903–1917 als Professor lehrt. Für den Großherzog Ernst Ludwig von Hessen und bei Rhein (1868–1937) entstehen um 1904 Brustbildnisse und ein großformatiges Reiterporträt in seiner Uniform, die er im Rahmen seiner für den Adel üblichen militärischen Laufbahn trägt. Auf der Brust gut sichtbar der Großherzoglich Hessische Philipps-Orden mit dem Ritterkreuz der Schwerter. Ernst Ludwig ist bis 1918 der letzte Großherzog in Hessen und ein wichtiger Mäzen vor allem in Darmstadt, wo er den Ausbau der Künstlerkolonie vorantreibt und die Stadt zu einem Zentrum des Jugendstils werden lässt. In seinem Porträt gelingt es Trübner hier erneut auf faszinierende Weise, mit seinen breiten Strichen dennoch eine höchst präzise und fein modellierte Darstellung der charakteristischen Physiognomie des Modells zu erreichen. [KT] Aufrufzeit: 10.12.2022 - ca. 15.38 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONWilhelm Trübner 1851 Heidelberg - 1917 Karlsruhe Großherzog Ernst Ludwig von Hessen und bei Rhein. Wohl 1904. Oil on canvas. Cf. Rohrandt G 278. Monogrammed in upper right. 76.5 x 62 cm (30.1 x 24.4 in). We are grateful to Dr. Klaus Rohrandt, Kiel, for the kind expert advice. The work will be included into the catalog raisonné. PROVENANCE: Private collection Rhineland-Palatinate. LITERATURE: Cf. Joseph August Beringer, Trübner: des Meisters Gemälde in 450 Abbildungen, Stuttgart 1917, p. 278. At the time this portrait was painted, Wilhelm Trübner had reached the height of his success. Following his studies in Karlsruhe, Munich and Stuttgart, his contact with fellow artists such as Corinth, Slevogt and Liebermann helped Trübner develop his own broad, colorful impasto style which lends his landscapes their striking power. In 1904 he was appointed Director of the Karlsruhe Art Academy, where he also taught as a professor from 1903 to 1917. Around the year 1904, he painted bust portraits and a large-scale equestrian portrait of Ernest Louis Grand Duke of Hesse and by Rhine (1868–1937). With military careers common among the nobility at the time, the Grand Duke is depicted in his uniform. Clearly visible on his chest is the Grand Ducal Hessian Order of Philip the Magnanimous bearing the Knight’s Cross of Swords. With his reign ending in 1918, Ernest Louis was the last Grand Duke of Hesse and a key patron of the arts, above all in Darmstadt where he promoted the expansion of the artists’ colony and transformed the city into a center of Art Nouveau. Although applying his typical broad strokes in this portrait, Trübner nevertheless achieves a strikingly accurate and finely modeled portrayal of the Grand Duke’s distinctive physiognomy. [KT] Called up: December 10, 2022 - ca. 15.38 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 296
Militaria Deutschland - Preussen : Offiziers - Tschako der preußischen Landwehr - Infanterie, um 1830. Ledertschako mit vorderseitiger preußischer Kokarde und großem aufgelegten Landwehrkreuz. Breite, gewölbte, vergoldete Schuppenketten an versilberten Rosetten. Feldzeichen in offiziersmäßiger Ausführung aus versilberten Metallfäden mit schwarzem Samtuntergrund. Komplett mit Fangschnur mit breiten Silberquasten aus Metallfadengespinst. Originales, gelaschtes, schwarzes Lederfutter. Sehr schöner und seltener früher Tschako. Vor allem mit originaler Fangschnur sehr selten.German Militaria - Prussia : Officer's Tschako of the Prussian Landwehr Infantry, around 1830. Leather shako with Prussian cockade on front and large applied Landwehr cross. Wide, domed, gilt scale chains on silvered rosettes. Field insignia in officer style made of silver plated metal threads with black velvet background. Complete with catch cord with wide silver tassels of metal thread spun. Original, lashed, black leather lining. Very nice and rare early chako. Especially with original catch cord very rare.
Lot 12
AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURY 大理國罕見觀音銅像Expert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance.大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 61
A RARE POLYCHROME-PAINTED CIZHOU 'BIRD' BOWL, JIN DYNASTY 金代罕見磁州窯彩繪鳥紋碗China, 1115-1232. With rounded flaring sides resting on a stoutly potted ring foot, covered inside and out with a chalk-white slip, vividly painted in bright iron-red, green, and yellow enamels with a songbird shown in profile in a central medallion framed by four concentric rings interspersed with clustered red dots lined up on an inner circle, all covered with a clear glaze, the exterior plain and the white slip ending above the foot, the exposed stoneware fired tan-brown.Provenance: The Jiyuanshanfang Collection. North American trade, acquired from the above. The Jiyuanshanfang Collection is currently housed on New York's Upper East Side and was originally founded upon an old family collection. A comprehensive catalog of the collection titled “Song Ceramics: The Eight Kiln Groups” was published in 2008 with a foreword written by Li Zhiyan, Research Fellow at the Beijing Palace Museum. Another contributor to this catalog was Martin Lorber, formerly Director of Sotheby's New York. Jiyuanshanfang's first exhibition was held in 2012 at the Morris Museum in New Jersey. In 2015, Jiyuanshanfang lent early Chinese ceramics to a large-scale exhibition at the Norton Museum of Art in Palm Beach, Florida, titled “High Tea: Glorious Manifestations - East and West”. Condition: Very good condition with some old wear and firing flaws, including dark spots and kiln grit, minor nicks to the foot, a few small and shallow chips to the exterior sides, one hairline, and light surface scratches. The enamels are remarkably well preserved overall.Weight: 391.2 g Dimensions: Diameter 16.8 cmExpert's note: Cizhou bowls of this red and green enameled type are usually decorated with fish or flower motifs. Examples with bird designs are extremely rare.Literature comparison:Compare a related Cizhou painted bowl with bird, dated to the Jin dynasty (1115-1232), exhibited in J. J. Lally & Co. Oriental Art, Song dynasty ceramics: The Ronald W. Longsdorf Collection on 15 March -13 April 2013, no. 46. Compare a Cizhou bowl of this form painted with an aquatic bird design, in the collection of the Tokyo National Museum, illustrated in the catalog entitled Chugoku no toji: tokubetsu ten (Chinese Ceramics: Special Exhibition), Tokyo, 1994, p. 147, no. 216. The same bowl was previously published in the catalog of the Osaka Municipal Museum exhibition entitled So Gen no bijutsu (The Arts of the Song and Yuan), Tokyo, 1980, col. pl. 26.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 13 September 2018, lot 832Price: USD 43,750 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A polychrome-decorated Cizhou 'fish' bowl, Jin dynasty (1115-1234)Expert remark: Compare the closely related decoration, enamels, and size (17.8 cm)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 15 September 2016, lot 711Price: USD 13,750 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A polychrome-decorated Cizhou deep bowl, Jin dynasty (1115-1234)Expert remark: Compare the closely related decoration, enamels, and related size (19.2 cm)金代罕見磁州窯彩繪鳥紋碗中國，1115-1232年。碗口外撇，圓弧腹，圈足。内外施白色的化妝土，碗内開光塗有明亮的鐵紅色、綠色和黃色琺瑯，描繪了鳥紋。圈足部位露胎。 來源：北美古玩交易市場，購於吉緣山房收藏。吉緣山房收藏 坐落於紐約上東區，最初建立在一個古老的家庭收藏基礎之上。曾出版過《宋瓷八大窯系一覽——吉緣山房藏品》（美國加州，2008年）一書，北京故宮博物院李知宴做前言 。此畫冊的另一作者為Martin Lorber，紐約蘇富比前經理。吉緣山房收藏的第一個展覽是2012年在新澤西Morris Museum；2015年吉緣山房曾給弗羅里達Norton Museum of Art出借過一批中國早期瓷器參加“High Tea: Glorious Manifestations - East and West” 展覽。 品相：狀況極好，有一些磨損和燒製缺陷，包括黑點和窯砂，足部有輕微的刻痕，外側有一些小而淺的碎屑，一條髮絲細線和輕微的表面劃痕。琺瑯整體保存極好。 重量：391.2 克 尺寸：直徑16.8 厘米 專家注釋：這種紅綠琺瑯的磁州窯碗多飾以魚或花卉圖案。鳥紋碗極為罕見。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 2328
A gent's Breitling stainless steel Navitimer automatic chronograph wristwatch, circa 1970, ref No.806, the signed black dial with fine scale inner dial, the circular black dial with luminous Arabic 12 and baton markers, silvered subsidiary hour, 30 minute, and constant seconds dials, chronograph centre seconds, and inner rotating slide rule bezel, automatic movement, back cover stamped Breitling and numbered 806, case dia.40mm, on rubber braceletIn running order.Chronograph functions work.Outer rotating dial with some discolouring and wear.Luminous batons discoloured.Glass with numerous light surface scratches.Case generally good but with numerous surface scratches and light wear consistent with age, would benefit from a clean.Rubber bracelet generally good with light fading.Clasp is broken.
Lot 342
A WW II double sided silk map of North Africa, scale 1:3,000.000 or 47.34 English miles to an inch, framed with label of provenance verso 40 x 60cm, together with six other maps to include Greece, Bulgaria-Roumania, 59 x 48cm, France, 46 x 37cm, Southern Italy and Sicily, 39 x 49cm, The Balkans, 40 x 57cm, The Middle East (Turkey), 57 x 38cm and Bulgaria-Roumania, 52 x 41cm. (7)
Lot 2659
A THIRD REICH LABOUR SERVICE (RAD) HEWER With curved single edged fullered blade etched "Arbeit Adelt" ("Labour Enobles") with reverse marked with triangular "RADJ" logo over "Ges. Gesch" over "Gottlieb Hammesfahr Solingen Foche" trademark, blade is set within a nickel-silver plater hooked quillion cross guard, grip stamp serialized "1235" terminating in hooked pommel mounted with faux stag textured bakelite scale grips, hewer comes with with nickel plated scabbard serialized "BR1235" with throat bearing extensive decoration and belt loop over blackened mid section over nickel plated tip bearing RAD logo to obverse and reverse, blade is 240mm, hewer is 375mm point to pommel and 400mm when in scabbard Condition Report:Available upon request
Lot 482
Daimler CW Utility Bus (Maidstone and District - Advertising Fremlin's Ales and Mackesons Stout) 1:76 Scale from Corgi's Limited Edition Bus Operators in Britain Range Still in its Original hard-plastic case sealed in original plastic covering number 3,301 of 4,000 good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 400
John McGregor, Wick (Scotland). Twin fusee bracket clock in mahogany case. Early Victorian, 7 1/2 '' silvered arch dial with strike/silent in the arch moon hands. Five pillar anchor escapement fusee movement striking on a bell with strike/silent and regulator pendulum. Partly engraved back plate, full repeat. Contained in a mahogany case with brass inlay, brass fish scale fretwork, silk to sides, brass ball finials to top with brass carrying handle, glazed rear door, Dimensions 11" x 18'' (top of handle) x 6 1/2 ''John McGregor recorded in Wick (Scotland) in 1837Lovely restored conditionCONDITION:Lovely restored condition
Lot 174
§ ◆ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE YELLOW JUMPER Oil and collage on boardDimensions:57cm x 56.5cm (22.5in x 22.25in)Provenance:Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1964, no.27 Glasgow Art Gallery & Museum, Glasgow Art Galleries and Museums Association Show, no.242 Note: Joan Eardley’s reputation as one of the leading British artists of the twentieth century is based on her portrayal of the Townhead district of Glasgow – in particular of its children – and of Catterline, a fishing village on the Scottish north-east coast.Having trained at Glasgow School of Art (GSA) and Hospitalfield College of Art, Arbroath, Eardley was awarded scholarships by GSA and the Royal Scottish Academy which allowed her to travel in France and Italy. She began to draw and paint children on her return to Glasgow in 1949. Three years later she moved to a studio at 204 St James Road in Townhead in the city centre, which she was to maintain until her premature death in 1963. It was on the second floor, wedge-shaped with large windows and a glazed roof and was described as being ‘filled with pictures, sketches and drawings of the neighbourhood and its occupants.’[1]The area, of mixed residential and light industrial use, was overcrowded and dilapidated. However, Eardley was drawn to its vibrancy and closeknit community. She explained ‘I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with.’[2] Eardley was able to champion and memorialise the neighbourhood in its post-war guise even as the wide-scale demolition of the Clyde Valley Regional Plan began in the early 1960s.Eardley became a regular sight in the streets, sketching buildings, people and scenes of daily life in chalks and pastels, which she then worked up into paintings in the studio. She was also rarely without a camera, which provided a way in which to capture, for example, the games, squabbles and other interactions between the local youngsters who spent much of their time outside.The Yellow Jumper of 1963 is an outstanding example of Eardley’s paintings of the children of Townhead. As Patrick Elliott has pointed out, it was in the mid-1950s that Eardley’s interest in depicting children gathered momentum.[3] She explained ‘I have a studio in Glasgow off Parliamentary Road and some of the children living in the district used to watch me at work. I thought it would be a good idea to paint them. There was only one difficulty – if they didn’t sit still I couldn’t paint them.’[4]This difficulty was overcome by the willingness of the twelve children of the Samson family - who lived nearby - to model for her. Ann Samson remembered: ‘To get to her studio you went up a spiral stair…She gave us paper to draw and toys to keep us quiet. ”Sit in peace” she’d say as she was drawing us…We used to get 3d off Joan for posing for her and went to Miss Bickett’s to buy sweets…She was really serious…She was never cheeky or angry.’[5]Two of Ann’s Samson siblings are the sitters in The Yellow Jumper. It comes from a celebrated series that Eardley began in the early 1960s, depicting two children positioned in front of a wall. This was often, as can be seen here, the red wall of the scrap-metal business on the ground-floor beneath her studio. The word ‘METAL’ in The Yellow Jumper is a direct quotation from the graffiti-surrounded advertising upon it and was applied using an old set of stencils.Indeed, The Yellow Jumper contains all the elements which have been described as the key themes in Eardley’s figurative work: ‘The bright…ground…studded with a collage of sweet-paper wrappers, foil from cigarette packets and newspaper scraps. The worn letters of the…shop-fronts has been stencilled on. The oddly patterned clothes speak of the hand-me-down items we see in Eardley’s own photographs and sketches of the children and create an intense visual texture.’[6] The flotsam and jetsam of Glasgow street life have been collected and used in the creation of the work and she even pressed into the support, applying literal graffiti to the painting rather than simply depicting it. Film footage of Eardley painting a closely related work shows the speed, energy and physicality with which she worked.[7] She often re-used canvases and there is a painting of Glasgow tenements on the reverse of The Yellow Jumper.The painting’s square format focusses attention on the half-length children, who gazed directly at the artist and now at the viewer. Their ease and intimacy is clear in a pose in which they wrap their arms around each other and press themselves together. Eardley’s use of paint and colour to layer up, for example, facial features and to describe clothing, as well as to re-create the surfaces and atmosphere of the outdoor world, is extraordinary. Her expressiveness borders on the abstract in some passages of this vibrant and masterful image.The Yellow Jumper is closely related to Two Children, c.1962 and Two Children before Lettered Wall, 1963 (both Private Collection), which were shown in the National Galleries of Scotland 2016 exhibition Joan Eardley: A Sense of Place, and to Brian and Pat Samson, on long-loan to Gracefield Arts Centre, Dumfries from the Walker Family.We are grateful to Ann Samson and Jan Patience for their help in researching this work.Endnotes can be viewed on our website. [1]As recalled by Robert Henriques in 1955, see Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, Edinburgh 2016, p. 15 and p.127, n.15.[2] As quoted in 1959, see Elliott and Galastro, op.cit., p.14 and p.127, n.8.[3] See Elliott and Galastro, ibid., p.17.[4] See Elliott and Galastro, ibid., p.17.[5] See Elliott and Galastro, ibid., p.19.[6] Fiona Pearson and Sara Stevenson, Joan Eardley, Edinburgh 2007, p.73.[7] See Laurence Henson (Director), Three Scottish Painters, Templar Film Studios sponsored by The Scottish Committee of the Arts Council, The British Council and the Films of Scotland Committee, 1963, from approximately 6:04, see https://movingimage.nls.uk/film/2263 (accessed 7 November 2022).
Lot 186
§ ◆ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) THE PERSECUTED Signed and inscribed, signed, inscribed and dated 1968 to stretcher verso, oil on boardDimensions:185.5cm x 185.5cm (73in x 73in)Provenance:Exhibited: Walker Art Gallery, Liverpool, John Moores Exhibition 7, 1969Literature: John McEwen, John Bellany, Edinburgh 2013, p.72Note: ‘I believe that it’s imperative that one is really excited and overwhelmed by the things one paints and writes about.’– John BellanyThe late 1960s were a crucial point in Bellany’s evolution as an artist. Following a degree at Edinburgh College of Art he continued his studies at the Royal College of Art in London, graduating in 1968. More significantly, in the previous year, he had visited East Germany on a cultural scholarship, discovering a range of German artists and attending the site of the Buchenwald concentration camp. Unsurprisingly this had a significant impact on the young artist, and in the ensuing years he produced paintings that helped process the emotional distress he experienced subsequently. Artist and writer Janet McKenzie remembers ‘When I interviewed him in 2010, he recalled that, following the visit to Buchenwald, it took him many years to reconcile the experience of the Holocaust, and he was only able to do so through the creative process, through the visualisation of the sense of the dichotomous – horror and beauty – that constitutes the human condition . . . Bellany’s relentless struggle to make sense of the split between the love found in family bonds, in nature, in the human spirit in many instances, and the abject terror and evil that humans are capable of. These polar opposites drove him on a daily basis.’In ‘The Persecuted,’ Bellany centres the people that were sent to camps such as Buchenwald: the sick; the disabled; the homeless; political prisoners; those convicted of crimes, to name but a few. Bellany does not baulk at their suffering, choosing instead to portray his subjects as emaciated and huddled together. We can sense the cold, their discomfort, their hunger but there is also a vitality and vibrancy here, a defiance. The approach is confronting, with the intimidating scale and imposing dark green frame crowding the figures while also compelling our gaze towards them, as they stare directly back at us. Thus, Bellany forbids the viewer to shy away from their grim reality and committed endurance in the face of adversity.Bellany raises these dispossessed figures to an elevated position normally reserved for those hung on the hallowed walls of galleries or museums. He subverts our expectations, showcasing suffering rather than the dashingly heroic, framing and naming this group so that they cannot be erased or forgotten. The distinctive presentation also suggests Bellany’s acknowledgement of traditional trompe l’oeil framing devices. There is a sense, in the works of this period, of the inspiration Bellany found in the Old Masters, with his interest in classical works informing the committed realism that went against the grain of modern art in 1960s London.Large-scale paintings like this from the mid-1960s cemented Bellany’s reputation as a contemporary artist of significance. A masterful work from a key moment in the artist’s career, we see this formidable talent utilising his superb artistic abilities to interrogate key matters at the very heart of the human condition: our capacity for good and evil, our suffering and our perseverance, our enduring hope.
Lot 239
Emil u.a. Schumacher. (1912 Hagen/Westf. - 1999 Ibiza). Sammlung aus 9 Graphiken. 1967. Verschiedene Techniken z.T. farbig (u.a. Radierung, Aquatinta, Farbserigraphie sowie Prägedruck) auf unterschiedelichen Papieren. Blattmaße von 18,5 x 19 cm bis 19 x 20 cm. 2 Blätter signiert, datiert u. ein Blatt nummeriert. - z.T. an einer Seite unregelmäßig beschnitten, 1 Bl. leicht gebräunt sonst saubere Zustände. Ausgezeichnete variantenreiche Drucke. Je eines von 500 Exemplaren. - Aus: Der doppelte Maßstab. Kunstkritik 1955-1966. Hg. v. Adam Seide. Frankfurt a. M.: Egoist Bibliothek. - Enthält Graphiken von: - Victor Bonato - Johannes Geccelli - Rupprecht Geiger - Hans Kaiser - Reinhold Koehler - Norbert Kricke - Roswitha Lüder - Emil Schumacher - Fred Thieler. Collection of 9 prints. Various techniques, partly coloured (etching, aquatint, colour serigraphy as well as relief printing) on different papers. 2 sheets signed, dated a. one sheet numbered. - Partly irregularly trimmed at one side, 1 sheet slightly browned, otherwise clean condition. Excellent varied prints. - One of 500 copies each. - From: The double scale. Art criticism 1955-1966. Ed. by Adam Seide. Frankfurt a. M.: Egoist Bibliothek. - Includes: works by the artists as described above.
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