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Lot 187
A collection of OO gauge model railway, including a boxed Tri-ang R52 0-6-0 tank locomotive, black livery, an electric loco, a diesel loco, both in green livery, and a tank loco in black livery, various boxed Playcraft Railways rolling stock and accessories, platform, station, buildings, tunnel and scenery, together with a Dublo Dinky Toys AEC Mercury tanker, model 070, 1:76-scale split-windscreen, with green cab, large red tank, and grey plastic moulded wheels, circa 1960, (2 boxes)
Lot 439
1998 Triumph Daytona T595, 955cc. Registration number R714 NWY. Frame number SMTTE502LGW065196. Engine number 065326.The Triumph Daytona T595 was introduced in 1997 in an attempt by Triumph to tap into the sports bike market. Despite the T595 name, the bike featured a 955 cc displacement in-line three-cylinder engine designed in part by Lotus. Along with the other triple-cylinder Triumphs, the Daytona helped to establish the newly managed manufacturer and its distinctive and unique three-cylinder motorcycles.The T595-model name concatenated the new engine series "T5" and the first two numbers of the "955 cc" displacement. In 1999 the bike was renamed 955i because the T595 model name gave the impression that the bike's engine displaced 595 cc.Large-scale changes were made in 2001, with a complete restyling of the bodywork by designer Gareth Davies, a newly designed engine raising the horsepower to 149 with internal performance upgrades included Forged steel crankshaft, forged steel connecting rods, and forged aluminium pistons.NWY is basically a one owner bike, being bought from Eddies in Leeds by Sean Simcock of York on the 26th May 1998 for £8,599, receipt on file, part exchanging an H registered Daytona. It was serviced by them at 581 miles and MOT's on file from 2003 at 1,799 through to 2018 at 2,302 miles confirm the current very low mileage of 2,338. Bought by our vendor from him 2018 it has remained in his garage.Sold with the V5C, MOT history, receipts mentioned, service book and manual, it will come with a new battery and will require recommissioning before road use.
Lot 276
Dollond, London, early C20th pocket barometer and thermometer, hinged blued steel hunter case, silvered dial with adjustable scale in original burgundy leather green silk and velvet lined case, early C20th Swiss 15 jewel travel clock movement with white enamel dial, skeletonised Arabic numerals, subsidiary seconds at 12 o'clock, C20th desk ball clock (3)
Lot 295
ASSORTED BURAGO & OTHER SCALE MODEL VEHICLES, including Burago 1:18 Alpha Romeo 8C 2300 Spider Touring (1932) and Bugatti Type-59 (1934), 1:24 Ford Capri (1982), 1:32 Ford GT race car (2017), Cult 1:18 Austin Healey 100S (1955), Jada 'Betty Boop' Chevy Master Deluxe, Maisto 1:24 Shelby Cobra 427 (1965), Norev 1:43 Aston Martin DB5 coupe (8)Comments: mint and boxed
Lot 221
A mixed box of model vehicles some playworn, some still in original packing to include a US Multiple Gun Motor Carriage M16, a PZ.Kpfw.VI TIGER Ausf. E 1944, a CORGI BMW Z8 Diorama Bond 007 The World Is Not Enough. Scale 1:36, a VIPER DODGE (25cm approx), a boxed Corgi 6th Olympic Classic Acropolis 2004, a dirty Land Rover and Mini on a trailer, a HARRODS union jack Routemaster bus in sun-faded box, an AMERCOM Black Hawk helicopter, a 1976 Starsky & Hutch Ford Gran Torino (30cm long), a boxed Oxford double-decker London bus, an American LaFrance Ladder 2 fire engine with figures in protective polystyrene, a California car licence plate 'OUTATIME'
Lot 12
EMIL SCHUMACHER (1912-1999)Rotes Bild 1967 signed and dated 67mixed media on canvas100 by 80 cm.39 3/8 by 31 1/2 in.Footnotes:ProvenanceGalleria Henze, Campione d'ItaliaIBM Collection, Stuttgart Sale: Sotheby's, London, Contemporary Art Day Auction, 2017, Lot 181Acquired directly from the above by the present ownerExhibitedNew York, The I.B.M. Gallery of Science and Art, 50 Years of Collecting: Art at I.B.M., 1989Emil Schumacher has gained international acclaim for his championing of Abstract Expressionism in post-war Germany. Born in Hagen in 1912, Schumacher is widely recognised for his large-scale canvases loaded with swathes of bold primary colours intersected by sculpted black lines. In this sense, his body of work is comparable to Franz Kline's iconic abstractions. Indeed, Schumacher strove to denote a sense of pictorial representation within an abstract space. Together with Heinrich Siepmann, Ernst Hermanns and Gustav Deppe, Schumacher founded the artist's association Junger Westen in 1947. Their intention was to restore the connections to modern art that were lost in Germany during the National Socialist era and to find their own forms of artistic expression rooted in the industrially shaped region of the Ruhr and Rhein. Like the other artists of Junger Westen, Schumacher made a new start after World War II, seeking out a new style in his work. He found it in the non-objective paintings of Art Informel and Tachisme, which had their origins in France and in American Action Painting. Schumacher embraced the change to abstract painting, in which colour emancipated itself as the object of painting. His liberation of colour from form, of lines from motif, the spontaneity of the act of painting, the prepared canvases, the penetration of painting into the third dimension and the application of additional materials such as sand, tin, tar and hair all came to define his artistic practice. He gained notoriety as one of the first German artists to pioneer this style.Schumacher's life and career was long and prolific, with inclusion in prominent exhibitions such as the 1953 Venice Biennale, the 1963 São Paulo Art Biennial, and documenta III in 1963. He received a 1987 Order of Merit of North Rhine-Westphalia, and in 1998, the German government commissioned him for a mural in the renovated Reichstag building in Berlin. The Emil Schumacher Museum, dedicated to his life and work, was opened in the Kunstquartier complex of Hagen in 2009. Today his paintings remain highly sought-after by international collectors, solidifying his position among the most celebrated protagonists of post-war abstraction.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
Lot 4
RASHID JOHNSON (B. 1977)Carver 2012 signed on the reverseburned red oak flooring, black soap, wax and spray enamel in artist's frame184.2 by 125.7 cm.72 1/2 by 49 1/2 in.This work was executed in 2012.Footnotes:ProvenanceHauser & Wirth, New YorkPrivate Collection, US Sale: Sotheby's, New York, Contemporary Curated, 24 September 2014, Lot 230Acquired directly from the above by the present ownerSince the turn of the millennium, there are but a handful of artists that have captured the spirit, the tumult, and the ideas of an unravelling twenty-first century, those who occupy a rarefied place in the nascent contemporary canon. Rashid Johnson is unquestionably an artist of this calibre. His practice has delivered some of the most compelling visions of human experience that relate directly to black history and the history of the United States, and as such have been powerful images amidst the social unrest and political evolution of the last twenty years. His is lauded and highly sought-after by institutions and private collectors alike, and the present work, Carver from 2012, is definitive of Johnson's career as a voice in the broader artistic and cultural discourse. With typical verve and vigour, the work lays bare an intensely layered and worked surface of black wax and soap over a burned wooden support. It is pure materiality and conjures not only the splashy expressive canvases of Abstract Expressionism or the reserved palette and fabric of Minimalism, but an organic reality that speaks to the spectator through the painting's almost rudimentary construction. Born in Chicago in 1977, Johnson studied photography at the School of the Art Institute, graduating in 2005. His early work showed a deep engagement with the photographic medium as documentary form and conceptual linchpin, consistently citing broader influences and inspirators from art and history through portraiture. His multi-disciplinary practice took shape rapidly, however, underpinned by these questions of identity as he developed a relationship with his materials that was personal and alchemical. 'The materials I've used over the last five to 10 years were things that were close to me, that reminded me of certain aspects of my experience growing up', Johnson has stated; 'for example, the relationship I had to Afrocentrism through my parents in the late '70s and early '80s. My mother would always have shea butter around, and she wore dashikis. I was celebrating Kwanzaa, hearing this unfamiliar language, Swahili, and seeing black soap and chew sticks around the house, things that were about applying an Africanness to one's self. [...] I was forced to negotiate what that period and those objects meant for me. I saw these things, as I got older, in Harlem, in Brooklyn, being sold on the street. I always thought to myself: What is the goal now with these materials? What are people trying to get from them?' (the artist interviewed by Christopher Stackhouse, ArtNews, 3 April 2012, online).Whilst Johnson's work relates closely to the plurality of black experience, his aesthetic concerns have remained frontal in his work. In the vein of Jannis Kounellis and Joseph Beuys, the nature of objecthood and materiality confronts the formality of abstract painting. Perhaps most akin to his contemporary Mark Bradford, the work's associations with blackness are at once profoundly material and peripheral. In the present work, like much of Johnson's practice, the title lends a contextual opening to the piece – Carver. This can be read in so many ways: primarily, as a nod to George Washington Carver, one of the most eminent agricultural scientists of the twentieth century who revolutionised the agricultural economy of the south. Carver was born into slavery before abolition in 1865, at which time he sought an education, receiving a Master of Science at Iowa State University. He identified peanuts, soy and sweet potatoes as alternative crops to cotton that had been over-farmed and depleted the soil across southern farmland. Johnson has consistently nodded to the writers and intellectuals that have been massively inspirational to him, citing James Baldwin, Henry Miller, James Joyce, Richard Wright, Ralph Ellison, Zora Neale Hurston, and Alice Walker as various touchstones. Yet, the title can also be read as pure gesture – a possible nod to the action painting of Kazuo Shiraga or Jackson Pollock. In the surface of the painting, the motion of 'carving' comes vividly to life, and Johnson the named 'carver' of the present work. In the physical and passionate surface of Carver there is a beauty and violence. The piece impresses upon the spectator an emphatic presence, as a silhouette against the burnt wood support and that of the artist himself throwing molten wax and black soap across the surface of the piece. The soap offers up a material that is meant to cleanse the body. Yet, as a work of art, it becomes an element that may cleanse the mind or soul, or yet an aesthetic question – to alleviate the work of an accrued intellectual bearing. Such examples as this, of Johnson's large-scale paintings, tackle questions of formality and painterly resolve as a method of highlighting a conceptual and cultural thread. Carver is undoubtedly one of the most refined of these works, its composition wonderfully balanced and materials sumptuously dense. It is through this social and art-historical matrix that the artist gives rise to a novel type of abstraction – one borne of a materiality and formality that places a cultural lens over the work whilst serving to embolden the visceral experience of the painting. A contemporary artist whose work has been at the forefront of contemporary practice for nearly two decades as one of the most significant voices of his generation, Rashid Johnson's Carver is a painting that benefits from a strong associative title and magnificent scale. Having been selected for inclusions in global Biennales, his work resides in institutional collections that include the Whitney Museum of American Art, New York; Guggenheim Museum, New York; Los Angeles County Museum of Art; and the Museum of Contemporary Art, Chicago. The present work is an impeccable example of his practice, displaying Johnson's masterful, effortless hand with his quintessential materials, and encapsulates the indelible impact and legacy that he has already established as one of the key names of the twenty-first century.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
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