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Click here to subscribeFive Corgi Hauliers of Renown 1:50 scale diecast models, CC13826 Montgomery Transport Mercedes Actros Fridge Trailer, CC14037 McNally's Volvo FH 6x4 Flatbed Trailer with Container Load, CC15504 EM Rogers European Transport Volvo F10 Tilt Trailer, CC12516 WH Malcolm Atkinson Venture Low Loader 2 Axle Trailer, and CC13755 Beatty's Fuels Scania R Curtainside, all boxed. (5)
A collection of Corgi 1:50 scale diecast models, CC15004 JS Cook & Sons Iveco Stralis Set of 3 Cabs, Truckfest CC13238 Tinnelly Transport DAF XF Super Space Cab, Truckfest CC12820 Coles Transport Scania T Topline, CC12405 Eddie Stobart Volvo FH Tractor, and CC99131 Brian Harris Transport The Final Chapter, all boxed. (5)
Four Corgi Heavy Haulage 1:50 scale diecast models, 17501 Siddle Cook Scammell Constructor, 17902 Sunter Brothers Scammell Contractor, 13902 Knowles Transport Foden S21 Platform Lorry with Diesel Tank Load and 12891 Edward Beck & Son Foden FG Articulated and Long Platform Trailer, all boxed. (4)
Four Corgi Heavy Haulage 1:50 scale diecast models, 31010 Short Brothers Scammell Highwayman Low Loader with Luffing Shovel, 17905 The Pointer Group Scammell Contractor, 13501 GC Munton Foden S21 'Mickey Mouse' Articulated and Low Loader, and 31006 Wynn's Thames Trader Dropside Truck and Morris 1000 Van Set, all boxed. (4)
dating: Mid 19th Century provenance: Europe, Shaped as a pocket guns, with a boxlock type frame engraved with floral motifs and mark 'G' under the crown, wooden butt. The short, round barrel is tied to a large spring with two crossbars, the upper one with a scale and provided with a movable slider marking the quality of the powder. length 28 cm.
dating: First half of the 18th Century provenance: Brescia, Small, vertical, octagonal barrel, wheel with scale from 1 to 10. Flintlock signed 'G. M. LOGIA' with engraved hammer. Wooden full stock with trigger guard made of carved iron. For Giovanni Maria Logia see Barbiroli page 331. length 24 cm.
A collection of x7 vintage scratch built hand made WWII Second World War related aircrafts / fighter bombers. Models appearing to be 1/72 scale examples comprising Westland Lysander, Electric Lightning, Bristol Beaufighter Torpedo Fighter and others. All models with RAF Royal Air Force paintwork. Highly detailed but may be lacking smaller elements.
A WWII Second World War Wales Home Guard OS Map dated 1940. Pontypridd & Barry. Originally published by the Ordnance Survey Southampton 1922, then published at the War Office 1932, coded Geographical Section General Staff 3907. Scale one inch to the mile. On folding linen size 91 by 66 cm. With five stamps around the margins indicating that this was used by the 3rd battalion of the Home Guard, Bridgend. Colour. Includes Cardiff and some of Newport. Measures approx 90x65cm
Giovanni Boldini (Italian, 1842-1931)Al caffè signed and inscribed 'To Miss B. Pearce/with admiration/Boldini' (on the reverse)oil on card10.5 x 18.5cm (4 1/8 x 7 5/16in).Footnotes:ProvenancePrivate collection, Italy.Please note that this lot is accompanied by a digital certificate of authenticity issued by expert on the artist and author of his catalogue raisonné, Dr Francesca Dini.The son of an artist, Boldini undertook training in his hometown of Ferrara before moving to Florence where he lived for about a decade. Here, from 1864, he joined the Macchiaioli group of artists, now known as the greatest exponents of Realist art in Italy. The portraits painted by the young Boldini at this time - mainly of his artist friends and of some members of the Russian and English aristocracy residing in Tuscany - mark in Italy the renewal of this pictorial genre and they cemented the young Boldini's reputation. Subsequently, in 1871, he travelled to London where he sought patrons amongst English high society; however, in the same year, drawn by the light and glamour, he decided to settle in Paris. Here, he began producing small fanciful oils designed not only to capture the costumes and lifestyle found in the city's grand homes, but also to please the international clientele of the famous gallery, La Maison Goupil. During the 1880s, however, Boldini moved away from these somewhat staid subjects and instead devoted himself to the more faithful representation of his beloved Paris. Now, the French capital appears at its most vital with paintings depicting the squares and animated streets, the outdoor cafes, the transit of carriages and their horses' manes in the wind, the elegant bourgeoisie and street vendors, all characterised by a new freedom of brushstroke and modern spatiality. The present lot can be placed during this period of the artist's life.This work is an early example of his Parisian café sketches, a subject which he revisited several times. These studies seem to have been produced in preparation for one his masterworks, Scène de fête au Moulin Rouge, currently housed at the Musée d'Orsay in Paris. In the Musee d'Orsay painting, during one of the usual night sorties, Boldini stops in at the famous Parisian restaurant, made characteristic by the bright reds of the tapestries; he welcomes the clamour of the voices that mix with the sounds of music, of shimmering garlands of suspended lights that come down from the ceiling and make the glasses sparkle, illuminating the wonderful costumes; he has revelled in the attitudes of bystanders, with their desire to seduce and be seduced, as in the case of the seated gentleman to the right of the scene, who confidently perches in front of the cocotte that has approached his table, smiling at him, winking and amused. The atmosphere of this finished oil is captured in the present study, and this shows how the immediacy of these sketches could inform his more highly finished works. This painting can therefore be seen as an early idea on this theme, defined with quick brushstrokes with the characteristic Tiepolesque white lighting. The dedication placed on the back of the card brings us to the second half of the eighties, at which time Boldini - who was perfecting his new style of portraiture, highlighted by elegant figures painted on a large scale, with energetic and loose brushwork - befriended John Singer Sargent and the group of American painters active in Paris at the time, including Charles Sprague Pearce, a genre painter native to Boston who was distinguished by his gold medal at the Salon of 1883. Pearce married a French lady and remained in France for the rest of his life, so the Miss Pearce mentioned on the reverse of the card could be an American relative of the painter.We are grateful to Dr Francesca Dini for compiling this catalogue entry.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
Arthur John Elsley (British, 1861-1952)Love at First Sight signed and dated 'Arthur J Elsley/ 1907' (lower left) oil on canvas107 x 143cm (42 1/8 x 56 5/16in).Footnotes:ProvenanceThe artist's Studio sale, lot 17. Private collection, UK. LiteratureT. Parker, Golden Hours: the paintings of Arthur J. Elsley, Yeovil, 1998, p. 107, illustrated in colour, p. 75.Mr. Elsley is master of these bright scenes of childhood. He knows all the ingredients that compose the children's paradise; a pony and dog, a lovely garden and romping sprits untouched by any shade of care. (Bibby's Quarterly, Summer 1908).Arthur John Elsley (1860-1952) was born on 20 November 1860. The son of a coachman and sometime artist, Elsley joined the South Kensington School of Art at the age of fourteen and first exhibited at the Royal Academy in 1878, two years after being a probationer. Elsley's interest in painting animals had been heightened by regular visits as a boy to the Zoological Gardens in Regent's Park. His ability to paint animals, and in particular domestic breeds such as dogs and ponies, meant that his sentimental depiction of late Victorian and Edwardian genre scenes found a ready market amongst collectors. In 1894 the death of Charles Burton Barber, who had been considered the pre-eminent painter of animals and children, left this particular field open for Elsley. He was able to exploit the contemporary taste and although a bout of childhood measles had partially affected his eyesight, he was the undoubted master of this genre by the dawn of the new century. Well regarded amongst his peers, his reputation was enhanced by having shared a studio with the artist Fred Morgan in the mid to late 1890's. After the two artists fell out, Elsley continued to work in his studio on increasingly larger canvases depicting children and animals at play. His daughter Marjorie became one of his favourite models and he drew inspiration from the open countryside which he regularly visited on his bicycle. His popularity grew as many of his paintings were reproduced as prints and calendars. In addition some of his images were used by companies such as Bibby's Animal Feeds and Peak Frean Biscuits to promote their products.The outbreak of the First World War and the immediate post war years resulted in an understandable change in taste as the country tried to come to terms with the horror of the trenches and the loss of a generation and Elsley's sentimental compositions appeared somewhat anachronistic to a war embittered British public.Elsley continued to paint, mainly for pleasure, exhibiting a number of works at the Royal Academy until 1927. Increasingly poor eyesight meant that by 1931 he had ceased to paint almost entirely and spent most of his time gardening. He died in Tunbridge Wells in 1952 at the age of 91. Painted in 1907, when the artist was at his peak Love at First Sight is a seminal work. It is impressive both in terms of scale and subject as Elsley incorporates all the elements for which he is so famous. A young girl turns to look back at a boy, who is out taking his dog for a walk on an early summer day. She and her two sisters have been out picking flowers for their home which is suggested by the gates at the end of the path. It is a shamelessly romantic work of incredible quality and detail, a work painted for an audience who would have delighted in the colours and textures of the costumes and flowers and would have understood such a simple narrative presented with such extraordinary skill. The boy in the composition, with his white suit and feathered hat, also features in His First Shot (see lot 68 of this sale).This 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
Omega, gentleman's reference ST105 003-65, stainless steel Pre-moon Speedmaster wristwatch, the signed dial with three subsidiary dials, baton hour metres, tachymeter scale on bezel, signed crown flanked by two pushers, fitted with a calibre 321 17 jewel manual wind movement numbered 24013294, the case back numbered with reference number inside, and externally, Speedmaster, mounted on an Omega stainless steel bracelet numbered 1171/1, with box, and papers including service documentationCondition Report: The movement has been opened for inspection and will need professionally resealing.The tachymeter scale shows signs of wear and a scratch is visible at 65.Scratches to case back and sides commensurate with age.Please note that the movement has not been tested for the accuracy of time and may need a service at the buyer's expense.Ewbanks does not guarantee the future working of the movement and we do not guarantee the authenticity of any individual component parts since subsequent repairs and restoration work may have resulted in the replacement of original parts
AN ACE PRODUCTS PHOTO ENGRAVED GAUGE 1 0-6-0 MODEL LOCOMOTIVE KIT a Vulcan Model Engineering 7mm Scale LSWR B4 Locomotive kit and other railway related kits PROVENANCE: The David Stainthorpe Collection NOTE: Steam models are sold without valid boiler certificates and are untested unless otherwise stated
Small Victorian silver fusee lever pocket watch, London 1856, the movement signed James & Son, Farnham, no. 5820, with engraved balance cock, steel three arm balance and silvered regulating scale, the dial with Roman numerals, minute track and subsidiary seconds, blued steel hands, within a plain case with engraved cartouche, case maker 'J.H' (Joseph Hirst), 45mm-Movement - currently functioning.Dial - hairlines and surface marks.Glass - lacking glass.Hands - light surface marks, subsidiary hand not matching.Case - heavy tarnishing, light surface marks and rubbing to the band, some mild play to the hinge.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Victorian silver lever hunter pocket watch, Chester 1898, the movement signed W.E. Watts & Co. Ltd, Whitminster Works, Gloucestershire, AD 1898, no. 30159, with compensated balance and silvered regulating scale, dust cover, signed dial with Roman numerals, minute track and subsidiary seconds, within an engine turned case, case maker 'WHA' (William Henry Adams), 53mm-Movement - currently functioning.Dial - couple of small faint hairlines, light marks.Glass - light surface marks.Hands - not matching, light surface marks.Case - tarnishing, some rubbing to the engine turning, light surface marks.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
H. Samuel silver centre seconds chronograph lever pocket watch, Chester 1902, gilt three quarter plate movement signed H. Samuel, Market Street, Manchester, no. 2059, with compensated balance and regulator, gilt chronograph slide at the two position, signed dial with Roman numerals, 25/300 scale and chronograph centre seconds, within an engine turned case with engraved cartouche, 56mm-Movement - currently functioning, chronograph functioning correctly.Dial - light surface marks.Glass - light surface marks.Hands - light surface marks.Case - some light marks and some mild tarnishing to the bezel.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Victorian silver fusee lever pocket watch, London 1886, the movement signed Baumgart, 6 Maddox Street, London, no. 6599, with plain balance cock, compensated balance and silvered regulating scale, dust cover, the dial with Roman numerals, minute track and subsidiary seconds, within a plain associated case, case maker 'J.O' (James Oliver), 51mm-Movement - currently functioning.Dial - light marks.Glass - surface marks and discoloured yellowed.Hands - surface corrosion, hour hand tip broken.Case - surface marks and some tarnishing, bow rubbed, band rubbed, case associated to the movement, evidence winding hole has possibly been made slightly larger to accommodate the winding stem.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
An over-scale gilt brass lion paw door porter, 19th century, 75cm highString fabric wrapped around the handle quite tatty and dirty, We havent taken the fabric off, but the underneath feels like a metal handle Due to the present of the string, it is possibly hiding a replacement, and due to the column being loose it supports this theory of alteration Column sections have come loose, rattle around when moved They will need atttention Column itself is quite worn and scratched Lion paw is knocked and polished See images
A large pair of Empire style faux-bronze and ormulu table lamps, each with reeded column and a triform base, complete with cream pleated shades67cm to top of light fixtureDear Mr McCormack,The lamps are relatively modern and cast resin which has been (rather well) painted to simulate bronze/ormulu. They are heavy and a good scale but have decorative value rather than antique. Hope this helps Kind RegardsChristopher Halls
A British Airways model Boeing 747-100,scale 1:200, with original box and stand,34cm longtogether with a model Premium Series B747-400 by Cathay Pacific,scale 1:200, with original box and stand,35cm longand a model MH434 Spitfire,on a wood stand,37cm long17cm high (3)Condition ReportSome marks to the Premium Series. The boxes are worn.
Eberhard: A gentleman's 18ct gold single button chronographModel: Extra-FortDate: Post-warMovement: Jewelled manual windDial: White with black Arabic numerals, red inner snail tachymeter scale, black outer 1/5th second divisions with Arabic numeral 5 minute markers, red outer telemetre scale, subsidiary dials at 3 and 6 for seconds and 30 minute recording, black Breguet hands, centre chronograph handCase: Polished and brushed roundStrap: Brown leather, associatedBuckle: Yellow metalSize: 39mmThe vendor informs us that the watch has been recently serviced and not used since. Case good with only negligible signs of age and use. Crystal good. Dial has a small chip to the outer edge between 7 and 8. Strap fairly heavily worn with tarnished buckle. Movement winds, sets and runs. Chrono functions properly. Not tested or guaranteed.
A large Meissen dishcirca 1820-30of moulded form, with wide puce scale scrolling border enclosing a centrally painted bucolic scene of children playing with a toy and a parrot, painted underglaze blue crossed swords mark, impressed '24', incised '4', 31cm diameter (some gilding wear to the rim)
Map of the County of Buckingham from an actual survey made in the years 1832 & 1833. A beautifully engraved, elegant map of Buckinghamshire by the brothers Christopher and James Greenwood. The map scale of 1 inch representing 3 miles allows for tremendous detail, including churches, castles, railways, heaths, turnpike roads, woods and rivers. A delightful vignette of Stowe House adorns the lower left corner. There is also an explanation table, compass rose and a numbered reference table to the various county "Hundreds". This map was published in the "Atlas of The Counties of England". Size: 645 x 810 mm. Buyer collects or arranges courier
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