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Click here to subscribeEDDIE STOBART COLLECTABLES including 27 Atlas Edition 1-76 Scale Die-Cast metal models, Scania top line curtain side, Karen Patricia, Man L2000 boxed lorry, Volvo FH Fridge Trailer Emma Jade, Scania R143M420 Curtain side, Emily Kim ETC together with other collectables including coasters, filofax ETCComments: all boxed, as new and unopened
A collection of various toys including a boxed Corgi Back to The Future Delorean Time Machine & Doc Brown (1:36 Scale), boxed Corgi Toys "Bluebird" Record Car (No 153), Star Trek "Captain Kirk" figurine, Escalado Horses, selection of die cast and tinplate vehicles, lead figures, Captain Scarlett Spectrum landing base etc
A RARE 'MUTTON FAT' JADE IMITATION QUARTZITE SNUFF BOTTLE, 19TH CENTURYChina. Of flattened ovoid form, with one small russet inclusion to one side, superbly hollowed. The stone is of an unusually even ivory-white color, and to accentuate this, a slightly glossier surface polish has been applied, which gives it the appearance of 'mutton fat' jade.Provenance: French private collection.Condition: Pristine condition with only very minimal natural flaws to the material and microscopic chipping to the lip. Scientific Analysis Report: A report from the Natural History Museum, Vienna (Naturhistorisches Museum Wien), written and signed by Dr. Vera M. F. Hammer, dated 19 January 2022, confirms that the present lot is carved from quartzite.Expert's note: A test on the Mohs scale reveals a hardness between 7 and 8.Stopper: Aquamarine Weight: 79.4 g Dimensions: Height including stopper 61 mm. Diameter neck 17 mm and mouth 7 mmQuartzite is a term that has not been much used among snuff-bottle enthusiasts, with the result that bottles in this material often tend to get called by the wrong name. Deprived of its own independent weight as a distinct material, it tends to be drawn by the gravitational pull of the chalcedony group. Visually it is distinguished by a finely granular appearance that seems minutely and evenly speckled under a magnifying glass. The color is usually of a yellowish or beige tone, but it is also found in other colors, including gray, white, almost black, yellow, green, and richly speckled brown. Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 23 November 2014, lot 125Price: HKD 18,750 or approx. EUR 2,800 converted and adjusted for inflation at the time of writingDescription: A yellow-beige quartzite snuff bottle, Qing dynasty, 18th / 19th centuryExpert remark: Compare the related form. Note the color variation of the quartzite. 十九世紀仿羊脂玉素面石英鼻烟壺中國。扁平橢圓形，一面有一小塊斑紋，如籽玉留皮。掏膛極好。石料呈均勻的象牙白色，表面光滑瑩潤，看起來像“羊脂”玉。 來源：法國私人收藏。 品相：品相良好，只有極少的天然瑕疵和壺唇有微小磕損。 科學檢測報告：維也納Natural History Museum博物館 (Naturhistorisches Museum Wien) Dr. Vera M. F. Hammer博士於2022年1月19日出具的報告，確認此鼻烟壺為石英。 專家注釋：莫氏硬度測試表明硬度介於7 與8之間。 壺蓋：海藍寶石 重量：79.4 克 尺寸：高 （含蓋）61 毫米. 頸部直徑17 毫米 及瓶口直徑7 毫米 石英石是一個在鼻烟壺收藏中不多見的術語，因為這材料往往被錯誤地命名，經常被歸於玉髓之類。從視覺上看，它的特點是外觀成細粒狀，在放大鏡下有細微而均勻的斑點。顏色通常是淡黃色或米色，但也有其他顏色，如灰色、白色、近黑色、黃色、綠色和帶有豐富斑點的棕色。拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2014年11月23日，lot 125 價格：HKD 18,750（相當於今日EUR 2,800） 描述：十八或十九世紀清代黃米鼻烟壺 專家評論：比較相近的外型。請注意石英顏色的不同。
AN ANDESITE HEAD OF BUDDHA, 9TH Р10TH CENTURYIndonesia, Central Java. Finely carved with bow-shaped mouth and downcast eyes centered by a raised urna, flanked by pendulous earlobes, the hair in snail-shell curls over the conical ushnisha.Provenance: Hopareboden Antikviteter, Stockholm, Sweden, 14 June 1965. From the private collection of Mr. Lampa, Sweden, acquired from the above, and thence by descent to the last owner. A copy of the original invoice from Hopareboden Antikviteter, signed by the owner Eva Rudensch̦ld, dated 14 June 1965, accompanies this lot. Countess Eva Gabriella Rudensch̦ld (1915-2005) was a Swedish noblewoman and a well-regarded collector and antiques dealer in Stockholm. Condition: Overall commensurate with age, showing old wear from handling and worship, sings of weathering and erosion, few chips and losses. The wood base with minuscule nicks.Weight: 6.2 kg (incl. base) Dimensions: Height 24.7 cm (excl. base) and 35 cm (incl. base)With a wood base dating to the 1960s. (2)The facial features of this finely carved andesite head share physiognomic elements inspired by the preceding Gupta artistic tradition of Northern India, such as the well-defined nose and snail-shell curls covering both the head and ushnisha. This remarkable head also closely resembles the manifold transcendental Buddhas that adorn the Buddhist monument of Borobudur in Central Java, erected under the Sailendra Dynasty in the early years of the 9th century. The porous texture of the volcanic stone expertly fashioned into serene expressions manifest a sense of sincerity and bliss characteristic of classical Javanese sculpture. The great stupa of Borobudur is a three-dimensional mandala that maps the cosmic universe in five ascending terraces. The large-scale Buddhas at its pinnacle represent the highest levels of transcendental wisdom.Literature comparison:For a related example, see P. Pal, A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection, 1997, p. 104, cat. no. 126.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24 September 2020, lot 715Price: USD 32,500 or approx. EUR 35,200 converted and adjusted for inflation at the time of writingDescription: An andesite head of Buddha, Indonesia, central Java, 9th Р10th centuryExpert remark: Compare the closely related curls, urna, and expression. Note the significantly larger size of 40.6 cm.
A JIZHOU REVERSE-DECORATED 'LOTUS' MEIPING, SOUTHERN SONG TO YUAN DYNASTYChina, 1127-1368. Skillfully painted in swift brushwork with a continuous scroll of lotus, detailed with furled leaves, the present vase is particularly notable for its black-coffee brown glaze that provides a striking contrast with the lotus in white reserve.Published: Song Ceramics, the Eight Kiln Groups at a Glance, Examples from the Jiyuanshanfang Collection, 2008, page 102. Mentioned in the foreword by Li Zhiyan, Research Fellow at the Beijing Palace Museum, as “an outstanding example demonstrating its bold form, coupled with delicate painting”.Provenance: The Jiyuanshanfang Collection. A noted American private collector, 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 minor wear and firing flaws, few small chips to foot.Weight: 859.1 gDimensions: Height 23.6 cmWell potted, the rounded sides rising to a slightly waisted neck with a thick lipped rim. Boldly painted to the exterior with a vivid arrangement of lotus flowers and leaves reserved against an opaque glaze of dark brown, framed by line borders at the shoulder and above the foot, the glaze stopping unevenly above the foot, revealing the dark ware.Literature comparison: See a closely related Southern Song Jizhou meiping, also decorated with a white lotus pattern against a black background, excavated from Chaohu, Anhui, now preserved in the Anhui Provincial Museum, illustrated in Zhongguo wenwu jinghua daquan, taoci juan, Hong Kong, 1993, p. 290, no. 406. A similar lotus pattern can also be found on a printed textile from a tomb in Fujian whose occupant died in 1243, see Fuzhou Nansong Huangshengmu, Beijing, 1982, p. 125, fig. 91.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 3 December 2015, lot 229 Price: HKD 400,000 or approx. EUR 55,000 converted and adjusted for inflation at the time of writing Description: A rare 'Jizhou' 'lotus' vase, Southern Song dynasty Expert remark: Compare the near identical decoration and glaze. Note the different form and slightly smaller size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2021, lot 832 Price: USD 27,500 or approx. EUR 28,000 converted and adjusted for inflation at the time of writing Description: A rare painted Jizhou bottle, Southern Song dynasty Expert remark: Note the closely related form and subject matter. Note that the vase is not reverse-decorated and of slightly smaller size (18.4 cm).南宋至元代吉州窯黑地白花蓮紋梅瓶中國，1127-1368年。小口，唇外卷，短頸，溜肩，橢圓形腹，矮圈足。器體輕薄細緻。口、頸部施黑釉，肩以下為蓮花、荷葉及蓮蓬果組成的黑地白花圖案，全器圖案裝飾飽滿，色調柔和富麗。 出版: 《宋瓷八大窯系一覽——吉緣山房藏品》，美國加州，2008年，第 102頁。北京故宮博物院研究員李志延在前言中提到："這是一個展示其大膽的形式，加上精緻的繪畫的傑出例子"。 來源：吉緣山房收藏；美國知名私人收藏購於上述收藏。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年年在新澤西Morris Museum；2015年年吉緣山房曾給佛羅里達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，輕微磨損和燒製缺陷，足部輕微小磕損。 重量：859.1 克 尺寸：高23.6 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
'BLACK AND RED LOTUS' BY ZHANG DAQIAN (1899-1983)China. Ink and watercolors on cardboard. Depicting a blossoming lotus flower amid large leaves, boldly painted with alternating thin and thick brushstrokes. The cardboard with silver specks and a thin gold border.Expert's note: Although Zhang Daqian's lotus paintings are not uncommon, there exist only few examples where the artist was able to ingeniously portray the subject in such a prolific and balanced manner despite a small format, in this case only 27 x 24 cm. Zhang uses the boneless painting technique to arrange the overlapping foliage, while the lotus leaves painted with varying shades of ink emphasize the sense of three dimensionality, as if they would sway with the wind. The lotus flower is accentuated by meticulously dotted and splashed red buds, a technique that looks simple but in fact is both time-consuming and resource-draining, and thus not frequently seen in the artist's oeuvre. Nevertheless it contributes significantly to the majestic aura of the painting. Black and red lotus bring to mind a well-known saying by Yang Wanli of the Southern Song dynasty: “Lotus leaves towards the horizon in endless green. Lotus blossoms bathed in sunlight in peerless red.” With its unusually small-scale yet fine composition, this masterpiece is a prime model for understanding Zhang Daqian's accomplishments in lotus painting.Inscriptions: Lower right, signed 'Daqian jushi Yuan'. One seal, 'Zhang Yuan zhi yin' Provenance: From a notable Hong Kong private collection. Condition: Excellent condition with minor wear, some minor stains, rubbing and soiling mostly to edges.Dimensions: Image size 27.1 x 24.1 cm, Size incl. frame 56.8 x 49.1 cmFramed behind glass. (2)Zhang Daqian (1899-1983) was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally active as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Chang's first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon and affected the long robe and long beard of a traditional Chinese scholar. Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 8 October 2020, lot 3097Price: HKD 1,638,000 or approx. EUR 210,000 converted and adjusted for inflation at the time of writing Description: Zhang Daqian, Lotus Expert remark: Note the significantly larger size (50.8 x 63.5 cm) and that this lot is also painted on cardboardAuction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 1 December 2015, lot 1351Price: HKD 4,840,000 or approx. EUR 700,000 converted and adjusted for inflation at the time of writingDescription: Zhang Daqian (1899-1983), Lotus in BloomExpert remark: Note the significantly larger size (57.8 x 91 cm) and that this lot is also painted on cardboard 張大千 (1899-1983) 款《墨荷》中國，紙本設色。荷葉間盛開的荷花，構圖飽滿，疏密有致，用筆豪放大氣，格調清新典雅。灑銀紙細金邊框。 專家注釋：雖然張大千的荷花並不少見，但很少有藝術家能夠在幅面很小的情況下以如此巧妙地描繪，此畫27 x 24厘米。沒骨法並用深淺不一的水墨描繪的荷葉，彷彿隨風搖曳。此幅作品規模異常小，構圖精美。 款識：大千居士爰鈴印：張爰之印 來源：香港知名私人收藏。 品相：狀況極好，有輕微磨損和污漬，邊緣有磨擦痕跡和污點。 尺寸：畫面27.1 x 24.1 厘米，含框56.8 x 49.1 厘米 鏡片。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2020年10月8日，lot 3097 價格：HKD 1,638,000（相當於今日EUR 210,000） 描述：張大千《荷塘香溢》 專家評論：請注意尺寸明顯較大 (50.8 x 63.5 厘米) ，以及此圖為紙板鏡框。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2015年12月1日，lot 1351 價格：HKD 4,840,000（相當於今日EUR 700,000） 描述：張大千《蓮花盛開》 專家評論：請注意尺寸明顯較大 (57.8 x 91 厘米)，以及此圖應為紙板鏡框。
AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURYExpert'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。
A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, HU, MIDDLE WESTERN ZHOU DYNASTYExpert's note: This vessel comes in a 100% untreated, original, as-excavated condition unlike most of the large Shang and Zhou Dynasty bronzes in circulation, which typically have undergone substantial restoration and patina treatment/enhancement. The X-Ray (images 3 and 4) reveals that the meticulously incised design is in a magnificent state of preservation just below the patina. The X-Ray (images 20, 21, 22 and 23) further reveals that there is no repair work whatsoever, and that deep surface corrosion is minimal. Overall, it must be said that such a large vessel, which such fine designs, and in such a good condition must be regarded as very rare. (more x-ray images available upon request)China, 10th-9th century BC. The sides flat-cast with four rows of large fish scale patterns with combed borders, below two pairs of long-tailed birds confronted on a leiwen band between a pair of lug handles flanking the base of the neck, the whole raised on a spreading pedestal foot pierced on two sides with a circular aperture. The bronze is covered overall in a magnificent, naturally grown patina with extensive malachite, cuprite, and azurite encrustation.Provenance: A Far Eastern collector in Queens, New York, USA. Originally, one of a pair. The other sold from his collection at Christie's New York, 26 March 2003, lot 155, and is now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Michael B. Weisbrod, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses and small nicks, light scratches, encrustations. Natural patina overall with extensive malachite, cuprite, and azurite encrustations. The patina further with scattered cloth imprints from ancient linen into which the vessel was shrouded before being buried, now long gone. X-ray images proving the excellent condition are available upon request.Weight: 5,480 gDimensions: Height 40.5 cmLiterature comparison: Compare the counterpart to this jar, once in the same collection as the present lot, at Christie's New York, 26 March 2003, lot 155, and now in the Compton Verney Art Gallery, Warwickshire, United Kingdom, reference number CVCSC 0303.A. Compare also a similar bronze hu, with cover, found in Baijia, Fufeng, Shaanxi province, 1975, and now in the Fufeng County Museum, illustrated in Zhonguo meishu quanji, gongyi meishu, bian 4, qingtongqi (1), (The Great Treasury of Chinese Fine Arts, Arts and Crafts, volume 4, Bronzes (1)), Beijing, 1987, page 192, no. 213, where the pattern on the body is described as fish scales. It is possible, however, that this may be feathers, which would relate to the birds on the neck. Either way, the patterns on the present vessel and the published example are identical. Compare also a related hu, of more slender form with a band of confronted birds on the neck between the lug handles, and rows of overlapping feathers or fish scale patterns of smaller size covering the body, in the collection of the Shanghai Museum, included in the exhibition, Ancient Chinese Bronzes, Hong Kong Museum of Art, 1 February-3 April 1983, no. 28. Like the present hu, this example is dated to the middle Western Zhou period.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.西周中期罕見青銅壺中國，公元前十至九世紀。兩側平鑄，浮雕四排魚紋，下面兩對長尾鳥紋，雷紋帶，頸部兩側分別有一貫耳。圈足外撇，有一個孔。青銅壺整體美麗的綠色皮殼，并有綠色、藍紅色鏽斑。 來源：紐約皇后區遠東收藏家，原本是一對。另一個於2003年3月26日紐約佳士得售出，Lot 155，目前在英國沃克郡 Compton Verney 美術館，編號CVCSC 0303.A；Michael B. Weisbrod購於上述藏家處。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況極佳，與年齡相稱。大面積磨損、輕微損失和小劃痕、結殼。整體天然皮殼，帶有大量綠色、紅色以及藍色鏽斑。可根據要求提供證明狀況良好的 X 射線圖像。 重量：5,480 克 尺寸：高40.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
A FAMILLE ROSE 'BUTTERFLY AND FLOWERS' SAUCER DISH, YONGZHENG MARK AND PERIODOpinion: It has become exceedingly difficult to find 18th century 'boneless' wares in a good state of preservation, regardless of form or size. But being able to offer such a large dish, with such a finely painted Yongzheng mark, and from the period, with such vibrant colors, and in such pristine condition overall, just feels like a once-in-a-lifetime event!China, 1723-1735. Delicately potted, the shallow rounded sides rising from a straight and high foot to a gently everted rim. The interior finely painted in 'boneless style' with bright enamels to depict a butterfly fluttering amid leafy and flowering stems of chrysanthemum and peony with two still-closed buds. The recessed base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi within a double circle and of the period.Provenance: A Scottish private collection. Condition: Magnificent condition commensurate with age. Only minor old wear and tiny firing irregularities. The foot rim with two minor nicks. A Yongzheng-era porcelain dish in such well-preserved condition must be considered extremely rare.Weight: 256.9 gDimensions: Diameter 19.8 cmThe combination of flowers and butterflies to decorate Chinese porcelain can be seen from as early as the Ming dynasty's Yongle reign, when it was used on blue and white wares, such as the pear-shaped vase in the Sir Percival David collection, British Museum, London, illustrated by R. Scott, Elegant Form and Harmonious Decoration: Four Dynasties of Jingdezhen Porcelain, London, 1992, p. 38, no. 25. The combination of butterflies and flower sprays painted in overglaze enamels on porcelain, however, became particularly popular at the Imperial Court during the Yongzheng reign, following the development of the famille rose palette of enamel colors, see a famille rose bowl, Yongzheng mark and period, decorated with roundels enclosing butterflies and flowers, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, vol. 39, Hong Kong, 1999, pp. 78-9, no.68.This bowl is an early example of the new confidence among painters during the reign of Yongzheng to increasingly handle areas of multiple color without using formal borders for separation. This technique is known as 'boneless style', because there virtually is no inner skeleton to the design. In the present lot for example, the pink and white colors of the large peony flower are not separated by any lines. This technique was not widely used, most likely because it was too difficult to implement on a mass production scale. It represented a great challenge to the artists, where unskilled painters would require outlines to complete their sections of decoration, and if not handled well, would give the impression that the piece was unfinished.The fluttering butterfly depicted on this dish emphasizes the fragile, shimmering beauty of the wings. Designs of butterflies suggest duplication of an auspicious wish, since the character for butterfly is a homophone for 'repeat'. It also is a homophone with 'die' meaning 'Over seventy or eighty years of age', and thus expresses a wish for longevity. Butterflies also symbolize happiness in marriage and everlasting romantic love. The latter interpretation is due to a number of traditional Chinese stories in which butterflies play a significant part. Feng Menglong (1574-1646), for example, narrates the popular story of the 'butterfly lovers' Liang Shanbo and Zhu Yingtai, who are transformed into butterflies after death. The philosopher Zhuangzi's famous dream of being a butterfly also made them symbols of the boundary between dream and reality.Literature comparison: Compare a related famille rose saucer dish with butterflies and peonies, also with a Yongzheng mark and of the period, 29.7 cm diameter, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021.Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3061 Price: HKD 920,000 or approx. EUR 135,000 converted and adjusted for inflation at the time of writingDescription: A famille-rose saucer dish, mark and period of Yongzheng Expert remark: Compare the closely related manner of painting with similar peony, chrysanthemum, and two-color leaves. Note the slightly smaller size (18.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2013, lot 218 Price: USD 81,250 or approx. EUR 101,500 converted and adjusted for inflation at the time of writingDescription: A pair of famille-rose dishes, Yongzheng mark and period Expert remark: Compare the closely related subject and manner of painting with similar peony, chrysanthemum, two-color leaves, and butterfly. Note the smaller size (15.1 cm) and that the lot is a pair of dishes. 雍正款及年代粉彩花蝶戀紋小碟中國，1723-1735年。胎薄體輕，盤心以沒骨畫法繪牡丹、萱草高低錯落，彩蝶翩翩，畫面生動，風格清新雅緻，敷彩鮮豔。圈足内雙圈青花六字款“大清雍正年製”。 由於字數限制，完整中文敘述請至www.zacke.at查看。
Beautiful Doll's House with 'Antiques & Curios' Shop to front, full of exquisite scale furniture, front opens to reveal Victorian figures and interior with detailed fittings including curtains, lighting, pictures, household items, etc. Lamp and letter box outside house. Measures 32" wide x 35" tall x 20" deep.
Georgian mahogany rectangular tea caddy of with canted corners, early C20th Japanese japanned trinket chest of three graduated drawers, early C20th letter scale with one 2oz weight, mahogany instrument box bearing makers label, John Weiss & Son 287 Oxford Street, collection of other decorative wooden items including bowl, spice container, cigarette box, Russian doll, etc
Three Boxed & unbuilt Airfix plastic model kits to include Apollo-Saturn V Series 9 1:144 09170 25th anniversary set, made in France (shrink-wrap sealed), an Apollo Lunar Module Series 3 1:72 03013, with instructions (contents appear gd, box vg) and Lunar Module Airfix-72 Scale pattern no. 393, with instructions (contents appear gd, box gd)
Three Boxed & unbuilt Airfix space-related plastic model kits, to include Saturn V Skylab 1:144 scale A11150 - sealed, One Small Step For Man... 1:72 scale A50106 40th anniversary set (contents in sealed bags, with instructions), and Vostok 1 1:144 scale A05172 50th anniversary set - sealed (boxes gd to vg)
11 Boxed & unbuilt Airfix plastic model kits to include 2 x Collectors Series (06551-1 1827 Paddle Steamer Engine, 07551-4 Four-Stroke Engine), 1694 HO-OO scale Coastal Defence, 621 Museum Models Beam Engine, 07500.6 1/12 Showjumper, 06701 Series 6 Fort Sahara, 51651-0 HO-OO scale Pontoon Bridge Assualt Set, 1705 Sherwood Castle (torn box end tab), 1706-198 Roman Fort, 06702 Series 6 Robin Hood and 1686 Zoo playset (contents generally appear good but unchecked for completeness, boxes fair unless stated)
11 Boxed & unbuilt Airfix plastic model kits to include 3 x Series 2 1/72 (02047-5 Magister, 02056-9 Whirlwind, 296 Vertol 107-II), 2 x Kit Series 5 1/72 scale (05002-1 Superfreighter, 05009-2 Heinkel He 177), 490 Ilyushin I.L.28, 04016-7 Douglas AC-47, 781 B 29 Superfortress, 02008-0 Hunter, 03177-8 1/144 Sud Caravelle and 05173-2 Hawk Spaceship, together with a carded Airtfix Cessna 0-1 Bird Dog and 2 x bagged Airfix model kits (A.W. Seahawk, Bristol Bulldog). Contents appear good but unchecked, boxes fair to gd
Eight Boxed & unbuilt plastic model kits to include 7 x Series 3 1:72 scale (03006-7 Lockheed Hudson, 03002-5 Belvedere, P38 Lightning, 03001-2 Heron), 2 x Series 2 1/72 (02044-6 Strikemaster, 02009-3 Anson), 05006-3 1/72 Liberator and a 09502-8 Super Kit Series 14 Hawler Hurricane MK1 (contents appear good but unchecked, boxes fair) (2)
11 Boxed Diecast models to include 5 x Maisto (Special edn 1:18 Jaguar XJ 220, Special edn Lamborghini Diablo 1:18, 1:24 Bugatti 1992, 1:24 Mercedes-Benz 500SL, Supercar Collection McLaren F1 Roadcar), 4 x Burago Diamonds 1/18 (3025 Dodge Viper, 3013 Mercedes Benz 300 SL, 3016 Jaguar "E" Cabriolet, 0104 Ferrari Testarossa), Beanstalk Group 1:18 scale Die Another Day & a Corgi MG ltd edn 1:18 scale MGF (diecast ex, boxes show storage wear including squashing and tearing) (2 boxes)
50 Boxed Diecast models to include 17 x Corgi (3 x ltd edn Tramway Classics - 36903, 36710, 36707, ltd edn Vintage Glory of Steam 80202, ltd edn 30th Anniversary Land Rover 576062 x Original Omnibus, 7 x Cameo Collection, Corgi Wheelz, etc), 6 x Majorette (Club 1/24 Chevrolet Corvette, Super Movers Series 3040-3070, 4 x carded Cadbury's Collection - opened), 5 x Maisto Supercar Collection, 20 x Super Racer 'Pull Back & Go', etc, plus a boxed Corgi Aviation Archive 1/144 scale 47201 Berlin Airlift Avro York 47201 diecast model (diecast ex, boxes vary) (2 boxes)
A 1985 VICENTE CAMACHO Spanish Classical Concert guitar. A rare and wonderful guitar made in Madrid, made of a spruce top and Brazilian rosewood back and sides. Includes a hard case.Provenance: Vicente Camacho was born in Madrid in 1928, making his early living in cabinet making – always an auspicious profession for one ultimately destined to be a guitar maker. He apprenticed with Modesto Borreguero (one of the workers in the Manuel Ramirez shop, along with Santos Hernandez and Domingo Esteso) from 1952 to 1960, when he set up his shop at calle Amparo, 3 in 1960. The scale length measures at approximately 652mm. There are no signs of any cracks or splits, the nut is not fixed in place but other than this the guitar is in very good structural condition. In terms of cosmetic issues, there is a light dent behind the bridge, a few dents on the sides, and some scuffed marks to the body binding, photographs have been uploaded to highlight these. The guitar is lacking strings, but appears to be in generally good condition and has been well kept with no signs of neck or body warping.
Charles Lamb RHA RUA (1893-1964)In-shore FishermenOil on canvas, 50 x 60cm (19¾ x 23½")SignedExhibited: Dublin, Hugh Lane Gallery, Charles Lamb Memorial Exhibition 1969Certainly not the first artist to become enchanted by the landscape and its people, a native of Armagh originally, Lamb would eventually make the Gaeltacht village of Carraroe his permanent home. In 1935 he built his own house, known affectionately, as his daughter Lailli Lamb reflects, as ‘Tigh Lamb’ or Lamb’s House (Catalogue Essay ‘My Father’, Lamb in Connemara, Adam’s Exhibition at Clandeboy, 2012). It was also here where Lamb ran an art school during the summer months, teaching painting classes. One can’t help but imagine what the locals made of Lamb and his desire to make them the subjects of his paintings. Though possibly not unused to artists travelling through the region, there must have been a certain amount of apprehension and suspicion towards him. Outsiders are not easily welcomed in these remote places, and it would not be surprising if it took many years before they trusted him entirely. Lamb’s cause was undoubtedly helped by his move to the area with his family. Lamb often depicted fishermen, either as group scenes, observing them going about their work on the shoreline or harbour in Taking in the Lobster Pots (The Armagh County Museum) or as a single figural study in Portrait of a Fisherman with Lobster (lot 49) offered alongside this work in the auction. They also appear in his portraits executed during his time spent in Brittany in 1926/27 where he visited Pont Aven and Audierne. In particular a large-scale portrait entitled The Breton Fisher Boy (Private Collection) in which the young boy stands confidently before the artist, hands tucked into his vest. Behind him appear a sardine fleet, which are immediately reminiscent of the Galway Hookers of Carraroe. In this present example two men finely balanced in their currach, row backwards to the shore line. Lamb has expertly captured the rhythmic movement, as one of the men controls the oars while the other holds out a net pulling in their catch along the way. He uses quick impastoed brush strokes to create a sense of the waves lapping against the boat as it moves through the water while the oars glide across and under its surface. It appears the day’s work has come to an end, with the light slowly starting to fade, casting pale pink highlights that fall along the edge of the boat. The surrounding landscape is a myriad of crosshatched strokes, yellows, pinks and greens while the sky above is a mix of grey clouds. Perhaps the weather is also about to change, as the mountains in the distance turn a midnight blue. He captures the chill and wildness of the Atlantic in the rich blue and green tones.The daily work and traditions of the native people fascinated Lamb. By depicting them in paint, on an expansive scale, he elevated their ordinary lives, celebrating the daily tasks of working the sea as in this example or off the land as in Connemara Harvesters or the weekly custom of the news being read aloud, literacy not a common ability at the time, to a gathering of locals in Hearing the News (1921). There is a real sense as if the men are moving across the surface of the painting, caught for a brief moment by the artist. There is an economy of expression at play, using only small touches of colour to indicate their faces and bodies. This work was included in the Memorial Exhibition held in the Hugh Lane Gallery in 1969, five years after his death. It is reflective of the shift in his career from large-scale portraits towards the broader and more warm toned landscape scenes of his later years. Niamh Corcoran, August 2022
Harry Bertoia (Italian/American, 1915-1978). Monumental 45 foot sculpture titled "Sunlit Straw," 1964-65, comprised of thousands of interlocking brass-coated steel rods in seven segments. Six segments average approximately seven feet in length with one smaller segment measuring approximately three feet in length. The six longer segments each have a lift hook along the top for installation.Designed and installed specifically for the Northwestern National Life Building, now known as Voya Financial 20 Washington. According to promotional materials developed for the building’s opening, “Bertoia gave up all other work for a year to concentrate on the sculpture, which in appearance suggests the gold grain of harvest time.†This referenced directly to John Pillsbury whose office on the top floor contained a second Bertoia sculpture.Harry Bertoia is known for his large-scale metal sculptures, which demonstrate his impressive blend of artistic vision and technical skill.Born in 1915 in San Lorenzo, Italy, Bertoia moved to the United States in 1930 to stay with his older brother in Detroit. He enrolled in Cass Technical High School, where he studied jewelry making, and was immediately taken with the technical and artistic aspects of the craft. Following his high school graduation, he enrolled in the Art School of the Detroit Society of Arts and Crafts. After one year of study there, he received a scholarship to the Cranbrook Academy of Art.At Cranbrook, he helped reopen the school’s metal shop, and became friends with many influential designers of the day, including Ray and Charles Eames, Eero Saarinen, and Florence Knoll. These friendships helped Bertoia to break into a successful design career, creating furniture with the Eameses and Knolls for their successful companies. He began studying welding during this period, a skill that soon would become a cornerstone of his artistic practice.Following professional success as a designer, he turned to sculpture full-time. Putting the metalworking skills gained earlier in his career to good use, he created massive metal constructions, using welded pieces to create dazzling forests of abstract forms. These works soon gained recognition throughout the art world, and he received many commissions for museums and public buildings.The present work is a stunning example of Bertoia’s public art. Visually imposing, the sculpture catches the light and draws the eye, welcoming the viewer into the building. Its subtle depiction of straw is a testament Bertoia’s ability as a storyteller, referencing the history and residents of the building and city without losing its modern edge.Total; height: 14 ft x width: 45 ft x depth: 40 in.
Sheila Fell R.A. (British, 1931-1979)Fields near the Solway signed 'Fell' (lower right)oil on canvas71.1 x 91.4 cm. (28 x 36 in.)Footnotes:ProvenanceSale; Sotheby's, London, 25 June 1980, lot 147Private Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 2 May-26 July 1970, cat.no.575When Sheila Fell exhibited this and five other paintings at the RA Summer Exhibition in 1970 it was a time of continuing artistic success for the 38-year-old painter. The previous year she had been elected an Associate Member of the RA, and her solo exhibition at the Stone Gallery in Newcastle-upon-Tyne had been highly rated by the critics, the correspondent for The Times noting that '...her ability to enlarge and intensify our vision of the northern landscape, as exemplified by her native Cumberland, must surely establish a place for her in the great tradition of English landscape painting' (The Times, 4 June 1969). Fields near the Solway, completed in Fell's London studio, captures very effectively her powerful emotional response to the lowland area of the Solway Plain in West Cumberland where she was born and raised and with which she was so familiar. The low horizon, typical of Fell's work from this period, unites the turbulent sky with the richly painted land, the rounded mass of the haystacks mirroring the grey billowing clouds laden with moisture from the Irish sea. The scene is imbued with a luminous glow and in the centre foreground a solitary figure, dwarfed by the scale of the land in which they work and barely distinguishable from it, obliquely faces the viewer with an air of acceptance, or even defiance, for the unforgiving climate. It was a climate Sheila Fell embraced: 'It's wonderful for a painter – especially when it's cloudy, raining and dark. It's the only place in the world where you can get such wonderful conditions of light and shade – and the only place where I can paint' (Daily Express, 2 June 1969).We are grateful to Professor Andrew Bradley for compiling this catalogue entry. Professor Bradley is currently preparing the forthcoming catalogue raisonné of the Artist's work and would like to hear from owners of any work by the Artist so that these can be included in this comprehensive catalogue. Please write to Professor Andrew Bradley, C/O Modern British and Irish Art, Bonhams, 101 New Bond Street, London, W1S 1SR or email britart@bonhams.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A RARE SYSTEM BEYER KRYPTO POCKET WATCH CIPHER, DANISH, CIRCA 1933,the centre reading KRYPTO System Beyer Pat. anm., by the Danish Cipher Machine Co. Ltd. of Copenhagen, the watch within polished nickel case, with ring of alphabet scale, within a disc with alphabet and punctuation scales, the 'winder' with plunge operating control, 2 1/4in (6cm) diameter Footnotes:This intricate cipher device was promoted as a machine that removed the need for code books altogether, and was developed in conjunction with the Danish Army Technical Corps and the Royal Engineers. The coding system itself is based on the theoretical calculations of the Danish engineer A. Køhle.The chances of decoding messages encrypted on the Krypto device are extremely small - reaching the correct position for a period of letters would require 80,910 different combinations. One contemporary article proclaimed that 'the certainty of the system is considered to be perfect and the coding systems may be altered indefinitely'.The present pocket watch cipher is extremely rare, with approximately half a dozen known examples of this type.Literature:cf. Denmark Abroad Vol. XXVII, August 1933.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
A MAHOGANY APOTHECARY CHEST, ENGLISH, EARLY 19TH CENTURY,with recessed brass carrying handle, the hinged lid lined and opening to fifteen glass medicine bottles of varying sizes, some labelled, a drawer to the base with recessed brass handle opening to accessories including glass medicine bottles, scale and weights, an additional shelf within containing glass measuring vessels and mortar and pestle, 8in x 9in x 6 1/2in (20.5cm x 23cm x 16.5cm) For further information on this lot please visit Bonhams.com
AN EDWARD TROUGHTON DOUBLE-FRAMED SEXTANT, ENGLISH, CIRCA 1820,signed Troughton, London, with silver scale and vernier, magnifier, two sets of coloured filters, in fitted mahogany case with three alternative telescopes, together with a copy of Troughton's 1788 'Framing for Octants, Sextants, Etc' patent, 10in (25.5cm) radiusthe case 12 1/2in x 5in x 12in (32cm x 13cm x 30.5cm) Footnotes:Edward Troughton (1753-1835) was a leading maker of surveying and navigational instruments in England, and is recorded at 136 Fleet Street in London. He originally served as an apprentice for John Troughton at the family firm. Later in his career, Edward partnered with William Simms (1793-1860) to form Troughton & Simms, which continued to produce surveying and other scientific apparatus.For further information on this lot please visit Bonhams.com
A JOHN BENNETT BRASS CIRCUMFERENTOR IN CASE, ENGLISH, CIRCA 1750,signed J. BENNETT, LONDON, the brass compass rose engraved with eight cardinal points and double degree scale, mounted within brass circle of degrees with four detachable detachable sights, lacking glass, with butterfly nut, in fitted case, 10in (25.5cm) diameter10 1/2in x 3 1/2in x 10 1/2in (26.5cm x 9cm x 26.5cm) cased Footnotes:There are two Scientific Instrument makers recorded with the name John Bennett operating in the mid-18th century. There is surprisingly little information on either maker, but one is known to have worked at the Globe in Crown Court, between St Ann's Soho & Golden Square, London. This Bennett is a likely candidate for producing the present instrument, as he was recorded as specialising in 'mathematical, philosophical and optical instruments'.For further information on this lot please visit Bonhams.com
A JOHN DOVASTON SIGNPOST OR ANGLE BAROMETER, ENGLISH, DATED 1786,signed John Dovaston fecit 1786, the mahogany baseboard with turned wood cistern cover, mercury thermometer with silver scale and sliding pointer, weather silvered scale with slide and pointer, 33in (84cm) high Footnotes:Provenance:The Stephen Edell Collection.For full description see 'An 18th Century Yeoman-polymath and a Pair of Manuscript Globes, 'intended for the wife of his son'', Bulletin of the Science Instrument Society, No. 65, by Stephen Edell.For further information on this lot please visit Bonhams.com
A LARGE BENJAMIN MARTIN BRONZE HORIZONTAL DIAL, ENGLISH, CIRCA 1770,Signed B Martin LONDON, Engraved with hours scale in Roman numerals and divided by five minutes, sixteen point compass rose and sold gnomon, three securing points, 14in (35.5cm) diameter Footnotes:ProvenanceCollection of the late Nicholas Goodison.Benjamin Martin is recorded as working at South Street, Chichester, Sussex circa 1736-1740 and thereafter at London addresses until circa 1777.For a similar horizontal dial, see Retailer of the Sciences. Benjamin Martin's Scientific Instrument Catalogues, 1756-82, fig 21.For further information on this lot please visit Bonhams.com
AN EDWARD NAIRNE OCTAGONAL BRASS HORIZONTAL SUNDIAL, ENGLISH, LATE 18TH CENTURY,signed E Nairne London, engraved with compass rose and cardinal points, hour and minutes scale and mounted with shaped gnomon, 9in (23cm) wide Footnotes:Edward Nairne (1726-1806) is recorded at his own London workshop by 1752, on Cornhill opposite the Royal Exchange. Nairne took on numerous apprentices over the course of his career, most notably the instrument maker Thomas Blunt.For further information on this lot please visit Bonhams.com
A PAIR OF GABRIEL WRIGHT AND WILLIAM BARDIN TERRESTRIAL AND CELESTIAL TABLE GLOBES, ENGLISH, 1782-1785,the terrestrial globe with cartouche printed Ferguson's Terrestrial Globe Improved by G Wright Wherein all the New Discoveries of the late Capt. Cook & other eminent Navigators are correctly laid down to the present time and below Made & Sold by Wm Bardin No. 4 Hind Court Fleet St, the celestial globe with cartouche printed with Wright's cartouche, both spheres mounted in brass meridian engraved with degree scale, horizon ring applied with calendar and zodiac scales, raised on four mahogany brackets above column and tripod base, each 24in (61cm) high (2)Footnotes:Provenance:Purchased directly from Petworth House, West Sussex. The Stephen Edell CollectionThe first globes made by the partnership of Gabriel Wright and William Bardin were of 9 and 12 inch diameter and were published in 1782. As in this example, Wright claimed that the globes were 'Improved' and in his 1783 publication he describes how he printed hour circles onto the globes around the poles and to print hours around the equator. A small brass pointer was mounted on the meridian ring at the pole.For further information on this lot please visit Bonhams.com
A BRASS ARMILLARY SPHERE, ITALIAN, PROBABLY 17TH CENTURY,the inner ring mounted with two pinhole sights, the equatorial ring engraved with degree scale, the ecliptic ring engraved with calendar scale and with six star pointers labelled in Latin, horizon ring engraved with double calendar scale with months and cardinal points named in Latin, supported by three cast and pierced brass brackets above turned wood base, 13in (33cm) high For further information on this lot please visit Bonhams.com
A RADIO-CONTROLLED SCALE MODEL OF THE STEAM LAUNCH 'BAT', ENGLISH, 20TH CENTURY,Built by K.N. Townsend of Cumbria in 1985, to a scale of 1:8, serial number 0II, a small brass plaque to the stern reads Model No. OII 1987.Hull of timber, plank on frame, painted white to the waterline and red below with a dark green boot top, a varnished top strake with a gold leaf caveta. Fitted with a three blade brass propeller. Laid timber decks with notched king plank and wide mahogany covering boards.Engine: Specially developed twin cylinder double acting, with 3/8-inch stroke and four columns, the balanced web crank shaft with split big end bearings, five bearings, the outer two being miniature ball races. Copper vertical boiler, with mahogany cladding, incorporating a heat sink and low-profile gas burner, from special propane tank. Fitted with level glass, safety valve, pressure gauge, steam whistle and Windermere kettle. With a modernised type of low profile boiler handforce feed pump.Forward cockpit, lined with beaded panelling and fitted with slatted mahogany bench seats, central engine space, with removable laid decks for access to gas cylinder, engine and radio control gear for engine, steering and whistle. The cockpit fitted with slatted mahogany bench seats. There is a removable green surrey top on brass poles.Inventory includes radio control transmitter and charger, timber toolbox and leather folder containing documentation. Mounted on brass crutches on a slate base. 14in (35.5cm) tall on basethe model 40in (102cm) long Footnotes:A fine example of one of the finest model makers of the 20th century. Care of construction and painstaking attention to detail are evident throughout. The first example of this model was commissioned for the Windermere Steamboat Museum collection.The steam launch Bat was built by Brockbank of Windermere to the design of her owner, Alfred Sladen in 1891. In 1904 she was used by Isaac Story and Jack Kitchen to conduct experiments in early radio control on the Lake, where she was steamed around the northern end with only a stoker on board. It is believed the first example of a vessel being controlled by radio. Found derelict at Bowness in 1966, she was rebuilt and now can be found in the Windermere Jetty, Museum of Boats, Steam and Stories.For further information on this lot please visit Bonhams.com
To be sold without a reserve. Stanley William Hayter CBE (1901-1988) La Noyée Etching with aquatint Signed, titled, dated and numbered 'September 1955' Edition 56/175 Literature: Bears blindstamp of the publisher, L'Oeuvre Gravée. Cat.no 222 Black and Moorhead. Provenance: The present work was a gift from Hayter to a school in Sweden and has come from an old teacher there. N.B. This work is widely thought to be one of Hayter's most accomplished large scale prints and is included in the essay on his artistic practice in the catalogue raisonne of his work. Dimensions: (Framed): 19.5 (H) x 26 in. (W) (Image): 15 (H) x 19 in. (W)
A late 18th century fruitwood tobacco box, circa 1770Of relatively large size, and of rounded rectangular form hollowed from the solid, the hinged lid designed with figures standing in Classical ruins, framed within a Rococo cartouche, against a fish-scale ground, the sides with further Rococo cartouche decoration, and the underside again with fish-scale carving, height 4.4cm, width 15.2cm, depth 6.5cmLiterature: For a comparable example see E. H. Pinto, 'Treen and Other Wooden Bygones' (1985), pl. 357 (A) and described p. 341. The author denotes a possible Scottish origin.
Quantity of Military Plastic Kits 1:35 scale, Tamiya Sturmgeschutz III Ausf.G , Panzer IV Ausf F1 G Tank, Italeri No 227 Steyer Tractor, Tamiya Sturmpanzer IV, Tamiya Panther Tank, Tamiya German Flakpanzer IV, Verlinden Products Israeli M50 Resin Sherman Turret, Tamiya German machine gun troops, German Panzer Grenadiers set, German Observation Corps, D.A.K. German Afrika Corps, Sand Bags set, German Infantry, German Army Officers, Road Sign Set, ESCI German assault Engineers, Italeri No 330 German machine gun crew, No 304 Afrika Korps, plus Revell German Infantry, 1/72 scale, Airfix The Golden Hind kit, HMS Victory kit, British 10th Hussars 54mm kit, all complete unmade condition .(22 items)
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