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Lot 503
The 'SA-30 Collection' - 30 exceptional vehicles chosen to celebrate 30 years of the Silverstone Classic and all excitingly offered at No ReserveThe S-Type was a major redevelopment of the Mk.2 using a mid-scale version of the Mark 10's independent rear suspension to replace the Mk.2's live rear axle and featured longer rear bodywork, along with other styling and interior changesThis is an original UK, 210bhp 3.4-litre car with the desirable manual overdrive gearboxBare metal repaint in stunning Opalescent Dark Blue. Beautiful and original red upholsteryJust 71,891 miles and two owners from new. Original books and 1967-issued 'green' logbookJaguar had bought Daimler in 1960, primarily to expand production facilities, and the Daimler 2.5-Litre V-8 Saloon was subsequently launched in November 1962. Just one year earlier, Jaguar had introduced the Mark 10, and it was to be the first of a new generation of luxury Jaguar saloons which offered super accommodation with a nod to the E-Type's sporting pedigree, as they shared similar independent rear suspension and the same engine. However, there was still a huge demand for a more luxurious Jaguar saloon with more compact dimensions and, once the new Daimler had been released, Sir William Lyons decided to combine the major improvements of the Mark 10 with the tried and trusted engineering of the Mark 2.The result was arguably "the ultimate Mk 2" - the Jaguar S-Type Saloon, which was introduced in September 1963. The car was available with either a 210 bhp 3.4-litre or the 220 bhp 3.8-litre XK engine, and it was very similar to the Mark 2 in regards to the dimensions and running gear, except that the S-Type used Jaguar's fabulous new independent rear suspension. The bodywork was extended to provide more boot space, and the roofline was changed to provide more headroom, making for a much more commodious and comfortable car. The interior was considerably more luxurious with a Mk10-style Walnut facia and wider front seats etc. and the front of the car was also updated, sporting slimmer, more stylish bumpers.Performance was exceptional for a luxury four-door saloon of the time, and the suspension provided not only substantially better handling but also a very comfortable ride for four passengers, especially those in the rear seats. The new S-Type was a triumph commercially, and at the conclusion of the car's relatively short production in 1968, nearly 25,000 examples had been produced.Today we are offering one of the most delightful S-Type Jaguars we have ever seen. It's finished in the most glorious shade of Jaguar Opalescent Dark Blue, which retains a shine so deep you could almost dive into it, the shut lines look factory tight, the brightwork gleams and the chrome wire wheels appear 'box fresh'. The exceptional original red leather interior is exactly as you hope to find it, not shiny and 'first day back from the trimmers' but gently patinated, mellow, lived in. The Walnut dashboard and door cappings are excellent as are the carpets, door cards, headlining, instruments and controls. All in all, a lovely place to be. The car is fitted with the legendary 210bhp, 3.4-litre, 6-cylinder XK engine, mated to an all-synchro, manual, four-speed/ overdrive gearbox and the desirable factory fitted power steering option.With this well-presented motor car is an equally well presented History File. Both of its previous owners appear to have been particularly fastidious, certainly when it comes to keeping records. The Jaguar was first registered on 23/03/1967 to one Iorwerth Smith of Tredegar in South Wales and you can imagine the net curtains in Commercial Street twitching when Mr Smith pulled up in his shiny brand new Jaguar. There are numerous invoices in the file that relate to Mr Smith's ownership and there was a documented change of speedo head on 16/02/1982. The old instrument was indicating 58,994 when it failed and it was replaced by a second-hand unit that was reading 4,561 miles when it was installed. Pleasingly he has kept a yearly mileage/MOT log from that point up until 2/11/98 indicating that the Jaguar only covered 7,110 miles in those 12 years. After 32 years of cherished ownership, Mr Smith decided to part with the Jaguar and sold it to the highly respected Hurst Park Automobiles. The decision was made to totally dismantle the car and to repaint it in its current coat of Jaguar Opalescent Dark Blue, perfectly complementing the sumptuous original red leather trim.In 1999, the S-Type quickly became the property of Dennis Creasy of Leatherhead in exchange for £17,000, probably the highest price ever paid for an S-Type at the time, such was the quality. He obviously shared Mr Smith's tidy nature as the history file was expanded over the years with MOTs and invoices for routine maintenance including one for a set of new Chrome Wire Wheels and tyres totalling £1,236. He was to keep the car for the next twenty years, until early 2019 when it joined our vendor's collection. In addition to dozens of invoices, the file includes 34 MOTs, the original Green Logbook, V5s, and the original Jaguar wallet containing the Owner's Handbook, Dealer Directory, Radiomobile Operating Instructions, a Lubrication Chart and even some Fuel Ration Books!With a warranted mileage of 71,891 (only 12,897 since 1982), an interesting history, and presented in this condition, this classic Jaguar would be welcome anywhere. They are actually a much better car than the feted Mk2, yet seem to be far more affordable, a situation that is beginning to end. Book an appointment to view this lovely S-Type, you won't be disappointed.You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Harry Whale on 07919 887 374 / harry@silverstoneauctions.com to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: JUH 416EYear: 1967Make: JaguarModel: S-Type 3.4RHD/LHD: RHDChassis Number: P1B1760DNEngine Capacity: 3442Engine Number: 7B89188Body Colour: Opalescent Dark Blue
Lot 405
* Delaune (Etienne, 1518/19-1595). Apollo and The Muses on Mount Parnassus, after Niccolo dell'Abbate, 1569, copper engraving on laid paper, plate size 40 x 55 mm (1.6 x 2.2 ins), sheet size 50 x 65 mm (2 x 2.5 ins), together with Narcissus, after Rosso Fiorentino, 1569, copper engraving on laid paper, plate size 56 x 40 mm (2.25 x 1.6 ins), sheet size 65 x 50 mm (2.5 x 2 ins), plus Grandhomme (or Granthomme, Jacques, active circa 1550), Venus and Adonis & Death of Adonis, two copper engravings on laid paper, numbered 2 and 3 below the image respectively, each with four lines of latin text to lower margin, plate size 77 x 61 mm (3.1 x 2.4 ins), sheet size 85 x 66 mm (3.3 x 2.6 ins) and similar, and Delaune (Etienne, 1518/19-1595), Histoire de Jonas, 1569, the set of four miniature engraved illustrations to the story of Jonah and the Whale, each with latin title dated 1569 to top margin, trimmed just inside the plate mark, one (Conservatus Jonas e vomitur a pisce) with slight loss to lower left corner, sheet size 38 x 55 mm (1.5 x 2.2 ins) and similar, and two other similar 16th century small-scale copper engravings on laid paper, depicting the Birth of Christ, and the Crucifixion, each within an elaborate oval decorative border, all hinge-mountedQty: (10)NOTESRobert-Dumesnil, Le Peintre-Graveur Francais IX, 41, 100, for the first work.
Lot 438
* Attributed to Nicholas Chevalier (1828-1902). Portrait of Queen Victoria, after Franz Xaver Winterhalter (1805-1873), circa 1857-1861, oil on canvas, three-quarter length portrait half-profile to left, depicting a young Queen Victoria against a landscape, wearing a white silk satin and lace gown and the Order of the Garter, her hands crossed one over the other, and a pink and a white rose hanging down on stems from her left hand, with a gold locket around her neck, sapphire and diamond brooch, a jewelled armband, and a sapphire and diamond tiara worn at the back of her plaited and looped hair, superficial scratch to lower right, and a few small unobtrusive marks upper left, sometime trimmed and re-lined, with some splitting to edges of re-lining at corners, stretcher with old printed label '44800', 139.7 x 105.3 cm (55 x 41.5 ins), contemporary substantial gilt moulded wood frame, with borders of stylised acanthus leaves and voluted drawer handles, and scrolling ribbon motif to outer edge, some discolouration and minor superficial chipping to gilt in a few places, with old framer's label on verso 'Richard Foster Norton, 83 Collins St. East, Melbourne', together with two typed letters relating to the painting: one from J.F Kerslake, Assistant Keeper at the National Portrait Gallery, London, dated 30th September 1964, stating "Your portrait is a version of the well-known portrait of Queen Victoria by Winterhalter painted in 1842"; the other from Ursula Hoff, Acting Director of the National Gallery of Victoria, dated 10th October 1968, saying " ... the portrait of Queen Victoria, after Winterhalter, is hanging at Government House in Melbourne ... "Qty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. In 1842 Franz Winterhalter was asked to paint Queen Victoria's portrait, as well as a companion piece depicting Prince Albert. They were the first of many works to be commissioned from the artist, and the finished paintings were hung on the walls of the White Drawing Room at Windsor Castle, where they hang still. The portrait of Victoria proved to be one of the most popular and reproduced images of her, and many replicas were produced for relatives, other sovereigns, organisations, and institutional buildings, some executed by Winterhalter and his studio, others by various artists. Indeed, almost immediately Winterhalter was asked to paint copies for presentation to King Louis-Philippe of France, who installed them in the Musée du Roi at Versailles where they remain today. This second version of the Queen is markedly different from the first, depicting a more elegant and formal sovereign, wearing the Order of the Garter, amongst other additional details. In the mid 1850s copies of Winterhalter's pair of paintings arrived at Government House in Melbourne, that of the Queen being based on Winterhalter's second version of the sovereign. The fact that the present work also echoes version two, and the presence of the Melbourne-produced period frame would indicate that it is a high quality copy of the Melbourne portrait. Certainly it is known that one copy was made - for Government House in Sydney - and the current work was likely commissioned for another official building or important personage. Richard Foster Norton - gilder, carver, frame maker and print seller - was active between 1855 and 1865, and was known to be working at 83 Collins Street East between 1857 and 1861, suggesting that the painting was made fairly soon after the arrival in Melbourne of the first pair. Russian-born artist Nicholas Chevalier is one of the very few artists working in Melbourne at the time who was capable of producing a work of this quality, and who already had close connections with the British royal family. He studied painting and architecture in Switzerland and Munich, and in 1851 he travelled to London to see the Great Exhibition, where he trained as a lithographer and exhibited at the Royal Academy. His first association with royalty appears to have been at this time, when he designed the setting for the Koh-i-Noor diamond and was commissioned to design a fountain for the grounds of Osborne House. After studying for a time in Rome he sailed to Australia, arriving in Melbourne in February 1855. His work there as an artist was numerous and varied: amongst other things he worked as a commercial illustrator, was instrumental in founding the Victorian Society of Fine Arts, had his oil painting 'The Buffalo Ranges, Victoria' chosen as the first Australian work of art to be purchased for the National Gallery of Victoria in 1865, and later, after settling in London in 1870, worked for the London Selection Committee of the Art Gallery of NSW, assigned to purchase watercolours by living British artists. When Queen Victoria’s second son, the Duke of Edinburgh, arrived in Melbourne in 1867 as part of his world tour, Chevalier accompanied the royal party as correspondent for The Illustrated Australian News . He was subsequently invited to join the Duke’s entourage for the voyage back to England, documenting the journey with sketches and watercolours which were exhibited at the Crystal Palace and at the South Kensington Museum in 1872. On his return to England his association with the royal family strengthened, and he received numerous commissions, including that from Queen Victoria in January 1874 to go to Petersburg and document in paint the marriage of the Duke of Edinburgh. Chevalier's work demonstrates a versatility of technique and subject matter, from the execution of small-scale cartoons and landscape watercolours, to the production of large portraits in oils. A comparison with the portrait of 'Dr Maund' in the National Gallery of Victoria, painted in 1863, shows a similarity in the delicacy of the brushwork to delineate, for instance, the eyebrows and other fine details, as well as a similar use of bodycolour to produce subtle highlights to eyes, nails, jewellery, and other details. Chevalier seems to have favoured setting his subjects in sharp relief against a dark background, which he did when painting his own self-portrait, and thus would perhaps have been a natural choice to reproduce a picture in which a dark backdrop was dictated and the subject must shine. ( Franz Xaver Winterhalter , Richard Ormond and Carol Blackett-Ord, National Portrait Gallery, 1987, p.190).
Lot 454
* After John Henning (1771-1851). Parthenon Frieze, mid 19th century, copper electrotype relief panel, with 2 hanging chains on verso, 33.9 x 132.3 cm (13.25 x 52 ins)Qty: (1)NOTESDuring the 18th and 19th centuries interest in classical sculpture was at its height, and the famous Parthenon frieze was part of Lord Elgin's collection of Greek sculpture, displayed at his London home from 1808 to privileged guests. Scottish artist John Henning was one of the first to access the collection and he embarked on a project of making models of the Parthenon frieze, first in ivory and subsequently in plaster, which were widely copied and reproduced, usually on a much smaller scale than the present work.
Lot 660
* Maclagan (Dorothea Frances, 1895-1982). Dawn, oil on canvas, depicting a semi-nude sculptural female figure, seated before a masonry wall, with two cavorting putti on her lap, and two owls beside, against star-spangled dark blue drapery revealing a cockerel on a plinth against a dawning sky, slightly rubbed upper right (and loss of a few small flakes of paint), 30.5 x 22.5 cm (12 x 8.75 ins), framed, with artist's handwritten label to versoQty: (1)NOTESDorothea Maclagan studied at the Byam Shaw School of Art in London between 1914 and 1917, subsequently spending 5 years at the Royal Academy Schools where she was tutored by Sir George Clausen and Ernest Jackson, amongst others, and won a number of medals. She kept a studio in London throughout the 1920s, later moving to Meadle in the Vale of Aylesbury in the 1930s. She moved in artistic circles, counting Glyn Philpot, Vivian Forbes and John Nash amongst her friends, and she exhibited widely, particularly at the Royal Academy. She married the painter Philip Douglas Maclagan (1901-1972). This piece is typical of Dorothea's work in small scale figure composition, with its subtle air of introspection and intimacy.
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186097 item(s)/page