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Lot 16
Theofilos Hadjimichael (Greek, 1871-1934)The hero George Karaiskakis in battle with Kioutachi titled and inscribed in Greek (upper left and lower left) natural pigments on cardboard70.5 x 100.5 cm.Footnotes:ProvenanceT. Eleftheriadis collection, Petra, Mytilene, Greece. (Zygos magazine, 1975) Private collection, Athens.ExhibitedPetra, Mytilene, T. Eleftheriadis House, T. Eleftheriadis Collection of Paintings by Theofilos, 1961.Mytilene, Tourist Pavilion, The Painter Theofilos on Mytilene, October 7-30, 1962, no. 16 (illustrated in the exhibition catalogue, p. 6).Athens, Athens Art Gallery, Theofilos, May 12-31, 1975, no. 9 (listed in the exhibition catalogue). LiteratureG. Samatouras, Twelve Folk Painters, Athens 1974, p. 88, fig. VII (illustrated).Zygos magazine, no. 13, March-April 1975, p. 79 (illustrated).Anti magazine, vol. 2, no. 20, May 31, 1975 (mentioned). T. Spiteris, 'Works in the Collection of Takis Eleftheriadis - Petra, Mytilene', handwritten list, c. 1960s (T. Spiteris Archive, Tellogleion Art Institute), no 8 (listed and illustrated). M.G. Moschou, Theofilos Hadjimichail Self-Biographed, doctoral dissertation, University of Athens, Athens 2005, vol. 1, p. 13 (mentioned).An exceptional work by the 'wandering magician of Greek history'1, this engaging canvas of pulsating energy, brilliant colour and keen sense of heroic stature, shows the artist's lifelong fascination with the 1821 Greek War of Independence, paying homage to a giant of the uprising and a legend in his own time.Portrayed on horseback and followed by prominent chieftains (their names fully mentioned in the lower left hand corner inscription),2 Georgios Karaiskakis, commander-in-chief of Greek forces in eastern Greece, hounds the Turk Reshid Mehmed Pasha (known to the Greeks as Kiutahi) who had laid siege to the Acropolis of Athens in 1826. The Sacred Rock, epitomised by the Parthenon ruins shown on the upper right, was of little strategic importance but it had a strong emotional and symbolic value for the Greeks and the philhellenic movement in Europe. The scene's main protagonist is depicted at the centre of the composition, where the viewer's eye is usually drawn, as is the case with Byzantine painting, which lacking a vanishing point, allows the eye to freely wander and naturally focus on the middle of the painting.3 Emerging from the smoke and dust of battle, his gaze fixed on the turbaned Turk, the battle-ready leader holds his pistol in his right hand, while his black steed is about to rush the enemy. The vehemence with which both Karaiskakis and his horse prepare to attack is expressed by the dynamic design and the vividness of colour.4 The Greek hero is portrayed full length and well in view, presented in such a manner as to show his figure to the best advantage. Much like a Byzantine icon painter, Theofilos is aiming at an interpretation of the historic event adjusted to a preconceived scale of values.5 Gallantry is indicated through the repetition of pictorial and iconographic conventions, an approach to painting rooted in Byzantine and folk tradition and reminiscent of the Karaghiozi shadow-puppets or descriptions found in demotic songs. The linear arrangement of the warriors, the symmetry and rhythm of the composition and the impression of an immutable reality, take one even further back to Archaic Greek vase painting and the narrative arrangement of that precursor of folk poetry, the Homeric epics, where all parts—sentences, ideas, episodes or figures—are placed one after the other like beads on a string.6 The Greek heroes are identified as such not only by the blue and white banner on the right or their characteristic fustanella kilts—the same highland garb the painter himself wore when he left Smyrna for Athens to voluntarily enlist in the 1897 campaign against Turkey and which eventually became his signature attribute—but by purely pictorial means as well: they are more carefully modelled and shown considerably bigger than their opponents, reflecting Theofilos's insistence in taking full advantage of art's liberating freedom that recognizes no limitations when it comes to scale or perspective.7 The wealth of detail, as in the background group of young pallikares fighting over the ruins of the ancient theatre of Herodes Atticus and captured in a style reminiscent of the representational conventions used by Dimitrios/Panayotis Zografos and Ioannis Makriyannis, is a vehicle of initiation into the artist's vision; a means of rendering more tangible to the spectators' imagination the world of gallantry and legend they are invited to contemplate. 1 See T. Eleftheriadis, 'Theofilos, Chieftain and Guardian of Greek Painting' in The Painter Theofilos in Mytilene [in Greek], exhibition catalogue, Mytilini 1962.2 This inscription, as well as the title on the upper left, reflect the painter's desire to provide a full description of his subject by leaving nothing obscure. On the contrary, everything is explained and clearly expressed and, therefore, all phenomena are thrust forward to the narrative surface where they receive even illumination in a flat, continuous present. The inclusion of written text, in addition to expressing a longing for knowledge following the Ottoman occupation, denotes a unification of iconographic and linguistic symbols in a uniform and living Greek myth. See H. Kambouridis - G. Levounis, Modern Greek Art, The 20th Century, Ministry of the Aegean, Athens 1999, p. 43.3 See P.A. Michelis, Aesthetic Approach to Byzantine Art [in Greek], Panayotis end Efi Michelis Foundation, Athens 1990, p. 203.4 See E. Diamantopoulou, Theofilos in Mt. Pelion [in Greek], Alexandria editions, Athens 207, p. 75.5 See A. Grabar, Byzantine Painting, Skira, Geneva 1979, pp. 36-37.6 See H. Kambouridis - G. Levounis, p. 43.7 See L. Papastathis, 'Theofilos in Mt. Pelion' [in Greek], Lexi magazine, no. 172, November-December 2002, p. 945.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 26-29 March 2020. This work will be located in Athens during the auction.For further information on this lot please visit Bonhams.com
Lot 33
Yiannis Moralis (Greek, 1916-2009)Composition signed in Greek and dated '1960' (lower left)acrylic on hardboard100 x 366 cm.Footnotes:ExhibitedAthens, Benaki Museum, Yannis Moralis, Architectural Compositions, February 10 - April 30, 2011 (illustrated in the exhibition catalogue, pp. 52-53).LiteratureZygos magazine, no. 80, July 1962, p. 25, no. 61 (illustrated).Architectoniki magazine, no. 42, November-December 1963, p. 8 (mentioned), p. 11, no.16 (illustrated).Architectoniki magazine, no. 46, July-August 1964, p. 44 (illustrated).The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 383 (mentioned).Yannis Moralis, Functional Art, Polyplano editions, Athens 1976, p. 29 (illustrated).Sima magazine, no. 22, no. 5, March 1979, p. 40 (illustrated).Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 782, p. 476 (mentioned), p. 496 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, p. 254 (mentioned).Yannis Moralis, Epta Imeres, Kathimerini weekly magazine, April 10, 1994, p. 5 (mentioned).Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 168 (mentioned).Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 139 (mentioned).Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, p. 218 (mentioned).A Tribute to Yannis Moralis, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2011, pp. 209, 245 (mentioned).Gr Design magazine, September 2018, p. 12 (mentioned).A monumental Moralis, Composition 1, 2 is one of the most beautiful and imposing paintings by the artist ever to appear on the auction market. Epic in scale and magnificent in its simple grandeur, this striking work echoes the timeless values of ancient Greek art.Disciplined line and pure form, reminiscent of architectural fragments from an ancient Greek temple or a neoclassical Athenian mansion, set up a perfectly balanced geometric edifice from which engaging floral motifs emerge playfully against luminous patches of blue colour indicative of clear skies. The well thought out compositional scheme, the shallow depth, suggestive of sculptural relief, and the overall serene rhythm, dictated by the classical sense for human scale, compose an evocative world of poetic images that revives the archetypal universe of an Ionian frieze.Pointing out Moralis's ideological kinship with his classical models, M. Lambraki-Plaka, Director of the Athens National Gallery, notes: 'Verticals, horizontals, diagonals and curves compose a harmonious whole full of intensity, hidden under apparent tranquillity.'3 As Nobel laureate O. Elytis once said of Moralis, 'by using a limited vocabulary of form, Moralis has succeeded—in a manner unprecedented in Greek art—to transform the language of the natural world into a purely optical phenomenon. Memories and encounters are repeatedly distilled until they blend into forms of great simplicity and precision.'4 Elaborating on the relationship of painting and architecture in Moralis' work from the 1960s, art critic A. Xydis notes: 'For a long time I have believed that the qualities of Moralis's art were particularly appropriate to the full expression of a work of architecture. His strength in and love of composition, his sensitive and balanced colour harmonies, the diligence of his technique, and the clarity and monumentality in the organization of planes and volumes, make up a combination of qualities much sought after by architects. They are even related to those that belong to a good architect, whose artistic temperament must at every moment be subjected to the control of reason.'5 1 Composition adorned the Xenia hotel in Florina, designed in 1960 by architect G. Nikoletopoulos in the vein of the legendary modernist Aris Konstantinidis. As noted by art critic A. Xydis, 'since 1959, Moralis produced a series of epoch-making works that paved the way to a wider use of artists by architects, who realised that they had only to gain from such a collaboration. In his first such works [as is the case with the Florina Xenia], Moralis did not depart far from the easel painting techniques he had been using at the time, the more so as these works were intended for interior spaces. He worked either in situ or in his studio.' A. Xydis, 'Auspicious Collaboration of Art and Architecture, the Work of Yannis Moralis 1959-1963' [in Greek], Architectoniki journal, no. 42, November-December 1963, p. 8.2 As noted by the artist himself, Composition was painted in the studio of artist Natalia Mela. See Yannis Moralis, Architectural Compositions [in Greek], exhibition catalogue, Benaki Museum, Athens 2011, p. 53.3 M. Lambraki-Plaka, 'Classic and Human-centred' [in Greek], Kathimerini daily, Epta Imeres, 10.4.1994, p. 114 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972.5 Xydis, p. 8.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 49
Yiannis Moralis (Greek, 1916-2009)Nudes signed in Greek and dated '56' (lower left); signed, inscribed and dated (on the reverse)oil on cardboard70 x 50.5 cm.Footnotes:ProvenanceAcquired directly from the artist by the family of the present owner.LiteratureYannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 95, p. 99 (illustrated).Noble simplicity and calm grandeur mark Moralis's Two nudes, achieving a modern realization of the classical ideal: the elimination of the temporary, the elevation of form to a symbol and the pursuit of balance between lyrical feeling and intellectual thought.Reviewing the artist's work up to 1958, when Moralis co-represented Greece in the 29th Venice Biennale, M. Chatzidakis noted: 'In seeking to enrich the intellectual content of his work, Moralis was led to a conscious and gradual conquest of space where the construction is at once solid and expressive; where every inch of painted surface is subordinate to the spirit of the canvas which expresses an enduring world. Never has Moralis attempted to reproduce nature's play of light on bodies or objects. Instead, his figures are imbued with their own light, stable and unnatural, as found in Byzantine art, where the light source is indefinable. Anatomical distortion and the foreshortened perspective of figures are subordinate to the calm rhythm of the composition.'1The female nude has always been a key subject in Moralis's art, tracing his stylistic development and revealing the wide range of his art historical and intellectual interests.2 In the 1950s, his evocative female nudes, either sitting or reclining, were gradually stripped of descriptive detail and handled in a more abstractive fashion, without, however, losing their recognizable form.3 In Two nudes, the purity of form, the composed immobility, the subtle use of colour and spatial relationships, the serene and disciplined rhythm dictated by a deep sense for human scale, and the shallow compositional depth reminiscent of sculptural relief, echo the timeless values of Greek idealistic art4 (compare Composition, 1951, Bonhams, Greek Sale, 17 April 2019, lot 32.)By sacrificing superfluous descriptive detail, rejecting the illusion of space, avoiding tonal gradations and emphasizing only the essential structural elements, Moralis expresses what is permanent and universal. 'Dedicated to the human figure, particularly the female one, Moralis has given us some of the most significant and intrinsic aspects of 20th c. art—not only of Greek but of world art. Above all else his paintings are at once erotic, profoundly sentimental and poetic. In them one may trace a progress from earthly to heavenly love, from the sensual aspects of the subject to the universal and eternal, to the metaphysical and the transcendental.'5 As N. Hadjikyriakos-Ghika once noted, 'Moralis's youthful females, closely attuned to the idealism of ancient Greek art, are lovable forms endowed with grace and tenderness, created by the Muses and the Hours.'6 1 M. Chatzidakis, 'Yiannis Moralis', The Charioteer review, vol. 1, no. 1, Summer 1960, pp. 56-62. See also M. Chatzidakis, 'Yiannis Moralis', Zygos magazine, no. 80, July 1962, p. 6.2 See D. Papastamos, 'Yannis Moralis the Artist' in Yannis Moralis, Commercial Bank of Greece, Athens 1988, pp. 27, 28.3 See K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, Andros 2008, p. 17.4 See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Century, Ministry of the Aegean, Athens 1999, p. 126.5 C. Christou, Moralis, Adam editions, Athens 1993, pp. 20, 33, 34.6 N. Hadjikyriakos-Ghika, Nea Estia magazine, no. 1245, 15 May 1979. 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 81
Yiannis Tsarouchis (Greek, 1910-1989)Kinderkarneval oil on canvas167 x 230 cm.Footnotes:This engaging large-scale painting, commissioned by the internationally acclaimed Greek pop star, friend of Tsarouchis, Demis Roussos, was painted in the 1970's after Kinderkarneval (1888) by Friedrich August von Kaulbach (1850-1920), a German portraitist and history painter who worked in the manner of Hans Holbein the Younger.ProvenanceDemis Roussos collection.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 83
Yiannis Moralis (Greek, 1916-2009)Epithalamion signed in Greek and dated '64' (lower right); signed and dated 'MORALIS/ATHÈNES/1964' (on the reverse) oil on canvas73 x 50 cm.Painted in 1964.Footnotes:ProvenanceT. Zoumboulakis gallery.Private collection, Athens. Bonhams, London, The Greek Sale, 25 November 2014, lot 74.Acquired from the above sale by Epsilon Art collection. ExhibitedAthens, Tassos Zoumboulakis Gallery, 1964, no 14.Athens, Alexander Iolas – Zoumboulakis Gallery, March 1972, no. 14 (illustrated in the exhibition catalogue).Athens, National Gallery - A. Soutzos Museum, Yannis Moralis, April 1988, no. 51 (possibly). LiteratureYannis Moralis, Commercial Bank of Greece Group of Companies, Athens 1988, no. 146, p. 146 (illustrated).Moralis, Adam editions, Athens 1993, no. 86 (illustrated).Echoing age-old memories of antiquity's epithalamia nuptial songs dedicated to the bride and sung on the way to her marital chamber, this perfectly balanced composition of pure form, elegant line, harmonious proportion and disciplined rhythm, adheres to a coherent inner order dictated by the timeless values of ancient Greek art and the classical sense for human scale.The painting is one of the finest examples of Moralis's famed epithalamia series from the 1960s, a body of work celebrating the erotic union of man and woman and representing both a continuation of and a departure from his earlier epitymvia compositions. As noted by Athens National Gallery Director M. Marina Lambraki-Plaka, 'in the artist's epithalamia paintings, volumes recede, handing supremacy over to the outlines, which tense dynamically to suggest the third dimension. His palette is now limited to warm siennas and ochres, evening-sky blues, whites, blacks and greys. Even subtle chiaroscuro effects are totally abolished, while colours become solid and completely flat. Paradoxically, the more 'modern' Moralis becomes the more classical, the more 'ancient' he tends to be.'1 Here, his evocative female nude is stripped of descriptive detail and handled in such an abstractive fashion that it takes on a symbolical meaning, liberated from the burden of physical existence without losing its recognisable form. One can almost trace the progress from the sensual aspects of the subject to the metaphysical and transcendental. As Nobel Laureate O. Elytis once noted, Moralis was always driven by a longing for the monumental, bestowing even on his most sensual conceptions a feeling of mystery and a sense of the sacred.2 1. M. Lambraki-Plaka, Yannis Moralis, a 20th Century Classic in A Tribute to Yannis Moralis, exhibition catalogue, National Gallery - A. Soutzos Museum, Athens 2011, p. 12. 2. See O. Elytis's preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972.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 103
A well engineered 1/5th scale model of a French live steam engine by M' A de Polignac, circa 1870. The model built from drawings by Anthony Mount and castings from Polly models. The engine is of unusual design having twin flywheels 4 inch in diameter and set on a base plate with 'A' frames supports, pivoted at the top is another central 'A' frame and between the legs is a piston rod with a piston at its centre. The whole model mounted on metal plinth. Plinth 30cm by 13cm. Height 26cm.
Lot 115
A well engineered model of a Stuart Turner 'James Coombe' table engine, having single cylinder 1 inch bore by 2 inch stroke with guides to top and connecting rod to open crank having 7 inch diameter spoked flywheel with pulley drive wheel, fitted speed governor with shut off linkage to steam inlet. The model finished in green and red paintwork with polished bright-work and set on wooden base. Plinth 22cm by 24cm. Height 36cm. * The model is built to Mr Andrew Smith's design based on a table engine that is reputed to have worked for more than a century at a Bristol colliery and is built to approximately 1 inch to the foot scale.
Lot 138
A well engineered 1/4 scale model of a Bentley BR2 nine cylinder rotary engine, built by the Late Mr David Bowns of Poole from L K Blackmore drawings with some modifications. The model with finned cylinders, pushrod operated valves, spark plugs and leads. The engine mounted on display stand base. Engine 12 inches in diameter. See condition notes.* The Bentley BR2 was a British rotary aircraft engine developed during the First World War by the motor car designer W.O. Bentley. The BR2 was the most powerful rotary to see service and produced 230HP @ 1300RPM. This was the last type of rotary engine to be used by the RAF-later air-cooled aircraft engines being almost entirely of the fixed radial type. The BR2 represented the peak of rotary engine development.
Lot 177
An award winning model of the live steam campaign tug 'Campaigner', the model with detailing to include a wheel house with gallery rails and ladder, life boat, rigging, winches and other items. The live steam plant comprising of a horizontal central flue boiler with wooden cladding and polished brass boiler bands, brass displacement oiler, twin sight-glasses and steam pressure gauge. The tug is propelled by a Stuart Turner twin cylinder engine with associated copper pipework linking it to the boiler.The model won a trophy cup at The Model Engineering Exhibition Earls Court 1975 in the working scale ship class. The vendor now only has a photograph of the cup which was awarded to their father. Please note: The trophy cup is present and photographed online
Lot 178
A fine quality model of an Ordnance muzzle loading 6 pounder canon, built to ⅕th scale by the Royal Naval Armament Depot in 1953. It is to the design that was introduced early in the 19th Century and manufactured until the late 1860’s. The model canon being of bronze material and mounted on a traditional hardwood stand with elevation chuck and other usual fittings. Brass engraved plaque and 32cm barrel. Contained in case.
Lot 3
A collection of four 10mm scale gauge 1 Southern Railway pieces of rolling stock, to include two utility vans, one converter couplings link, bogie SR goods brake van, two Southern Railway bracket signals, two starter signals and two ground signals. Coaches measure 35cm in length. Goods brake van length 39cm. (9)
Lot 37
An award winning 5 inch gauge model of Great Western Railway King Class 4-6-0 tender locomotive King Richard I No 6027, built by Mr R. Bates of Shrewsbury, with a copper super-heated boiler, the fine quality cab with hardwood planked floor, fitted pressure gauge, sight glass with drain cocks, regulator, vacuum control, wheel, reverse control, lever operated firebox doors, detailed copper pipework, the chassis detail including twin outside and twin inside cylinders with Stephenson's valve gear, scale injector, fluted motion, cab controlled drain cocks, lubricators, whistle, brakes, full sanding gear and other usual fittings, the six-wheel tender with fitted hand feed pump, brakes, water cocks, detailed rivet-work, fitted steps, hand irons, lamp irons, tool boxes, vacuum hoses and couplings. The model finished in British Railways green lined livery with 'The Royal Duchy' to smoke box door and polished bright-work to motion and other fittings. Length 188cm. Cab width 25cm. Transportation cage and display track.* The original full-size locomotives were withdrawn from service in 1962.Boiler History: Boiler identification No N53-80-282 Test pressure 120 psi. Working pressure 80 psi. Northern Federation of Model Engineering Societies Boiler Test Certificate No 808611 Phoenix ME Society. Hydraulic Test 120 psi Expired the 9th of August 2014. BOILER HISTORY DISCLAIMER Please Note: All boiler history records and references made in this catalogue are made for guidance only and the auctioneers are not able to convey any guarantees or warranties as to the safety of the boilers or their present condition.
Lot 4
A collection of 10mm scale mixed rake of goods wagons, to include Gauge 1 stock four wheel wagon, four seven plank wagons, two five plank wagons, two tube wagons, one petrol wagon, United Dairies tanker wagon and a GWR Orient low loader. (17) Please note. Items in this lot are sold as per photograph in the catalogue and the internet
Lot 5
A collection of seven 10mm scale gauge 1 assorted goods rolling stock, to include a NE fruit wagon, GWR cattle wagons, GWR van, Two Southern Railway vans, bogie bolster four wheeler with log load, rectangular tar/petrol tanker and a GWR Toad goods van. (7) Please note. Items in this lot are sold as per photograph in the catalogue and the internet
Lot 65
A well-engineered 2 inch scale model of a Shand Mason horse drawn fire engine, built by Mr D Cunnington from Edgar T Westbury drawings and Reeves castings, the model with vertical copper and brass boiler having 'J' tubes, normal steam fittings, twin cylinder live steam engine with cylinder head lubricator, scotch cranks, eccentric driven feed pump with stop cocks, twin spoked flywheels and twin direct coupled water pumps with changeover lever, water tank, suction and delivery hoses. Chassis and body details include spoked wooden wheels with metal rims, turning lock, driver's seat with brass rail to back, box body, foot rest not present, brake gear. The model finished in red and black paintwork with brass plate inscribes 'Shand Mason & Co Engineers, London'. Length 50cm. Width 28cm. Height 39cm.Awards: Highly Commended at The Midland Federation of Model Making Societies Town and Country Festival 27th of August 2005. Exhibited at The Midland Model Engineering Exhibition 2005.
Lot 66
A fine exhibition quality 3 inch scale model of the compound Fowler Showmans engine 'Viscountess', registration number AD 1964 (Possibly date of build and builder Arthur Deakin). The copper boiler with fittings including water sight glass, steam pressure gauge, safety valve, blower, clack and blowdown valves, solid flywheel with turned brass centre, whistle, cylinder drain cocks with associated copper pipework, Stephenson link reverse, eccentric driven feed pump and bypass, two road speeds. Chassis detail include lined spoked straked wheels and polished brass hub caps, worm and roller chain steering, spud pan to front axle, cable drum with fairleads, hand brake, water lifter, belly tanks with brass star decoration supporting tool boxes. Power generated mounted with 'volts' and 'amperes' control panel. The model finished in dark red, black and yellow lined paintwork with front and rear road lamps, polished brass boiler straps, detailed trivet-work, brass mounts and fine brass olivers supports to canopy which is sign written 'John Fowler & Co (Leeds) Ltd Engineers Leeds with extension chimney and associated mount to roof. Length 162cm. Width 58cm.The model is sold together with a floor table stand.* Provenance Private museum.Boiler History: No boiler history available.
Lot 67
An exhibition quality model of a 3 inch scale Burrell general purpose agricultural traction engine registration number CIB642, built by its late owner from a set of 'Plastow' castings and drawings. The late owner being a close friend of Mr Plastow. The model being of traditional design with single cylinder having 2 inch bore by 2 1/4 inch stroke, 11 1/2 inch diameter spoked flywheel, open crank with connecting rods and cross-head guides, eccentric driven valve gear and safety valve, lubricating system, blower, eccentric driven water pump, steering wheel with worm and chain steering. The silver soldered copper boiler with fittings including water sight glass, steam pressure gauge, regulator, direction control lever with graduated quadrant, wire rope winch with fitted fair leads, whistle, two road speeds, firebox door and hand operated brake with slatted wooden drivers floor. The model finished in green and red paintwork with polished brightwork having spoked and straked wheels with polished brass hub caps, four fitted road lamps and firing shovel. Length 114cm. Width 48cm. Height 76cm.The model is sold together with a transportation case.Boiler History: No boiler history available.
Lot 68
A well engineered 1 inch scale model of a Burrell general purpose agricultural traction engine, the silver soldered copper boiler with fittings including steam pressure gauge, water sight-glass, drain cocks, hand operated brake to rear wheels, injector, cylinder drain cocks, solid 15cm diameter disc flywheel, open crank, trunk guide, Stephenson reverse gear, lubrication system, safety valve, clack, ratchet oiler system, eccentric driven water pump, two road speeds, wire rope winch with fitted fair leads, worm and chain steering, brass boiler bands, steam chest cover. The model finished in green and red paintwork, spoked and straked wheels with painted hub caps. Length 75cm. Width 29cm. Overall height 48cm.Boiler History: No boiler history available.
Lot 69
A set of castings and machined parts to build a Plastow's two inch scale model of the Fowler Showmans engine 'Princess'. Copper boiler and some build work carried out including gear cutting, balanced crank and cylinder block. This lot has been entered from a deceased estate so we cannot guarantee that all items are present.
Lot 70
A set of castings and machined parts to build a Plastow's two inch scale model of the Fowler Showmans engine 'Princess', Copper boiler and some build work carried out including gear cutting, balanced crank and cylinder block. This lot has been entered from a deceased estate so we cannot guarantee that all items are present.
Lot 71
An exhibition standard 1 inch scale model of an Allchin Agricultural Traction engine 'Royal Chester', built by the late Mr Patrick Avery of Ashbourne Derbyshire with single cylinder, being a two speed general purpose engine. The engine has a silver soldered copper boiler with fittings including water gauge, pressure gauge, safety valve, blower, clack and blowdown valves. Engine details include single cylinder approximately ¾ inch bore x 1 inch stroke, drain cocks, ratchet mechanical lubricator, trunk type crosshead guide, Stephenson link reverse, eccentric driven feed pump and bypass, two road speeds and spoked flywheel. Chassis details include spoked straked wheels, worm and roller chain steering, spud pan, damper, cable drum, fairleads, hand brake to second shaft. The model is finished in red and black paintwork with polished steel bright-work. Length 46cm.Boiler History: No boiler history available.
Lot 72
A very fine engineered exhibition standard model of a 1/5th scale Qualters & Smith 'Sawmaster' 6 inch power hacksaw, built by Barry Jordan in 1999, from catalogue reference. The model is 8 inches high. * Provenance: Lot 397 Dreweatt Neate Fine Art Auctioneers, Honiton Auction 21st of October 2004. A copy of the original auction catalogue will accompany this lot.
Lot 73
A very fine and multi award winning 1/5th scale exhibition model of an Archdale MH50 Radial Arm Drilling Machine, built by Barry Jordan in 1998, from access to a full size machine. The model is 26 inches high. * Provenance: Lot 398 Dreweatt Neate Fine Art Auctioneers, Honiton Auction 21st of October 2004. A copy of the original auction catalogue will accompany this lot.
Lot 74
A very fine engineered model of a 1/5th scale Mk 1 Clarkson Tool and Cutter Grinder, built by Barry Jordan between 1997 and 1998, from access to the full size machine. Courtesy of Mr A Booth of Woodborough, Notts. The model is 14 inches high. * Provenance: Lot 396 Dreweatt Neate Fine Art Auctioneers, Honiton Auction 21st of October 2004. A copy of the original auction catalogue will accompany this lot.
Lot 75
A very fine and multi award winning 1/5th scale exhibition model of a Dean Smith & Grace Heavy Duty Lathe, built by Barry Jordan in 2000, from Dean Smith & Grace sales literature and access to full size machines. Courtesy of English Electric Lincoln and The Royal Ordnance, Westcott. The model is 12 1/2 inches high by 32 1/2 inches long. * Provenance: Lot 399 Dreweatt Neate Fine Art Auctioneers, Honiton Auction 21st of October 2004. A copy of the original auction catalogue will accompany this lot.
Lot 8
A 10mm scale gauge 1 model of a London Midland and Scottish 2P 4-4-0 tender locomotive No 40634, built from a Barratt kit with Swiss motor, Walsall wheels and axles. The model finished in British Railways black livery with fitted steps and handrails. Electric powered with rechargeable batteries and Peter Spoerer remote control system. The six-wheel tender with coal panel concealing electrical components. Boxed. Length 56cm.
Lot 861
A Chinese Antique Ivory Lantern Shaped Inro. Inro type case with detachable chambers with attached seals / chops, carved to the body with a Luohan with a studant and the celesteral city amongst floating clouds with an incised fish scale ocean sea, bordered by a Greek key fret motifs, the seal stopper carved as a crouching eagle bird, circa 1760 / 80s, height 7 1/4 cm, please see accompanying image.
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186094 item(s)/page