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Click here to subscribe9 boxed Matchbox Collectibles 1:43 scale diecast models, mostly 'Jack Daniels' related, eight of which are from the 'Platinum' range, and includes #96769 a 1956 Jack Daniels Mack B Delivery Truck together with #38046 a Coca-Cola 1968 VW Beetle. Models all appear VG/E in VG boxes which all retain their plain card outer packaging. (9)
10 boxed Matchbox Collectibles 1:43 scale diecast models, all Pick-Up trucks of various types Ford, Chevrolet, International etc. and models include YIS01-M to YIS06-M. together with YYM38039 to YYM38042. Models all appear VG/E in VG boxes which all retain their plain card outer packaging. (10)
12 boxed Matchbox Collectibles 1:43 scale diecast models, including models from the 'Classic American Pick-Ups Collection' YTC01-M to YTC06-M. together with others from the 'Great Outdoors Collection' YYM38051 to YYM38056. Models all appear VG/E in VG boxes which all retain their plain card outer packaging. (12)
10 boxed Matchbox Collectibles 1:43 scale diecast models, mostly 'Texaco' related, some being from the Platinum range, although does also include YYM96652 Harley Davidson 1941 Chevy Pick-Up and YTC03-M 1940 Ford Pick-Up. Models all appear VG/E in VG boxes which all retain their plain card outer packaging. (10)
6 boxed Corgi 1:50 scale diecast model trakcs from their 'Modern Trucks' series including ERF based 75001 'Lynx Express', 75202 'Boddingtons' and 75204 'Jack Richards' together with Leyland DAF trucks 75402 'Tate & Lyle', 75502 'Royal Mail' and 75404 'Heineken'. A boxed Corgi Gold Star Special CC12704 ERF Curtainside 'W.H. Malcolm' is also included as part of this lot. Models appear G/VG boxed. (7)
12 boxed American diecast car models, mostly in 1:32 scale, by Signature and the National Motor Museum Mint, some loose in pack, together with 11 unboxed American diecast car models including eight in 1:18 scale by Ertl, Sunstar and others, a battery operated Delorean car and two models in 1:32 scale, Condition of models varies, some with damage and/or missing parts. (23)
A British 1st World War Tadpole Tank Diorama, a unique 1:16 scale exact scale replica model, which we understand was originally produced for one of the Country's leading Tank Museums, although was never actually displayed there. The tank itself measures approximately 62cm in length and is superbly detailed and the display is further enhanced by an additional 12cm tall soldier figure attached to diorama base. Overall appears G+/VG.
A 1:16 scale Diorama, to some extent, modelled on an actual World War 2 event when a Curtiss aircraft of 112 Squadron Desert Air Force crash landed in North Africa. The base of the diorama measures approximately 61cm wide and overall appears G+/VG. A separate 11cm tall figure is also included to enhance the display. [The Vendor of this lot has very kindly supplied two images for inclusion in our Online Catalogue, which were taken by his father shortly after the actual incident took place, and which capture the scene recreated in the diorama.]
SPEED (JOHN), THE KINGDOME OF IRLAND DEVIDED INTO SEVERALL PROVINCES AND THEN AGAINE DEVIDED INTO COUNTIES NEWLY DESCRIBED, published Thomas Bassett & Richard Chiswell, hand coloured engraved map, six engraved costumed figures, ornate cartouche, mileage scale and compass rose, English text on verso. 42.5cm by 55cm
§ HENRY MOORE O.M., C.H (BRITISH 1898-1986) RECLINING FIGURE ARCHITECTURAL BACKGROUND IIILithograph, 1977, S/P, signed and editioned in pencil to margin, unframed (Dimensions: 22.5cm x 38.5cm (9in x 15.25in))Biography: Henry Moore is one of the most significant British artists of the 20th century. Initially trained as a teacher, following an injury in WWI, an ex-serviceman’s grant allowed him to study at art school in Leeds, and he later transferred to the Royal College of Art in London. Moore was beginning to gain recognition and success in the 1930s, but this was interrupted by the outbreak of war. He was employed as an official war artist, and created his important series of drawings of people sheltering in the Underground during the Blitz. In 1940, he moved with his wife to a hamlet in Hertfordshire, where he would live for the rest of his life. There was plenty of space, and the surrounding countryside allowed him to explore the engagement between the landscape and the body, his sculptures and nature. Moore achieved international success from the 1950s, and established his foundation in 1977, which continues to promote his work to this day. Best-known for his large-scale semi-abstract sculptures of seated and reclining figures, he was also a very talented draughtsman, with a large output in printmaking, where he explored similar visual themes to his sculptures.
§ STEVEN CAMPBELL (SCOTTISH 1953-2007) LOBSTER (FROM THE SCOTTISH BESTIARY PORTFOLIO)Woodcut, P/P, signed and editioned in pencil to margin, unframed (Dimensions: 76cm x 56.5cm (30in x 22.25in), full sheet)Biography: Steven Campbell was born in Glasgow and originally worked as a maintenance engineer in a steelworks in Cambulsang before attending Glasgow School of Art and becoming one of the leading Scottish figurative painters of his generation. Campbell worked alongside the artists Ken Currie, Peter Howson and Adrian Wiszniewski, a group which later became known as the 'New Glasgow Boys'. While their artistic output was not homogenous, they all shared an interest in figurative painting during the early 1980s which broke away from the conceptual and minimal trends in Modern art at the turn of the twentieth century. After graduating from Glasgow School of Art in 1982 Campbell won a Fulbright Scholarship to study at the Pratt Institute in the United States. Campbell worked from a studio in Brooklyn until 1986 and this period was key in establishing his status as an internationally renowned artist whilst raising awareness of Scottish contemporary art on a global scale. Campbell had solo exhibitions across the world in locations as far reaching as Galerie Pierre Huiber in Geneva (1986) and Marlborough Fine Art in Tokyo (1990). His artwork is influenced by a diverse range of literary fiction from tales by the author P.G. Wodehouse to murder mysteries, resulting in his artworks appearing to be humorous and unsettling. Campbell was also influenced by children's book illustrations accounting for his use of a rich and vibrant palette which intensified after his U.S. period. Campbell's surreal compositions cannot be read as a conventional fictional narrative and his imaginary worlds intentionally challenge the viewer with their dreamlike quality leaving his artwork open to multiple interpretations. Campbell saw himself as a 'director, writer and producer' of other-worldly scenes and he often repeated figures in multiple artworks as if they were a cast of actors.
§ HENRY MOORE O.M., C.H (BRITISH 1898-1986) SEATED FIGURE HOLDING A GLASSLithograph, S/P, from the edition of 50, signed and editioned in pencil to margin, unframed (Dimensions: 20cm x 26cm (8in x 10.25in))Biography: Henry Moore is one of the most significant British artists of the 20th century. Initially trained as a teacher, following an injury in WWI, an ex-serviceman’s grant allowed him to study at art school in Leeds, and he later transferred to the Royal College of Art in London. Moore was beginning to gain recognition and success in the 1930s, but this was interrupted by the outbreak of war. He was employed as an official war artist, and created his important series of drawings of people sheltering in the Underground during the Blitz. In 1940, he moved with his wife to a hamlet in Hertfordshire, where he would live for the rest of his life. There was plenty of space, and the surrounding countryside allowed him to explore the engagement between the landscape and the body, his sculptures and nature. Moore achieved international success from the 1950s, and established his foundation in 1977, which continues to promote his work to this day. Best-known for his large-scale semi-abstract sculptures of seated and reclining figures, he was also a very talented draughtsman, with a large output in printmaking, where he explored similar visual themes to his sculptures.
§ HENRY MOORE O.M., C.H (BRITISH 1898-1986) FEMALE TORSO AND SCULPTURAL IDEAS IILithograph, 1979, signed and inscribed 'Curwen Studio Proof' in pencil to margin, unframed (Dimensions: 36.5cm x 48.5cm (14.25in x 19in))Biography: Henry Moore is one of the most significant British artists of the 20th century. Initially trained as a teacher, following an injury in WWI, an ex-serviceman’s grant allowed him to study at art school in Leeds, and he later transferred to the Royal College of Art in London. Moore was beginning to gain recognition and success in the 1930s, but this was interrupted by the outbreak of war. He was employed as an official war artist, and created his important series of drawings of people sheltering in the Underground during the Blitz. In 1940, he moved with his wife to a hamlet in Hertfordshire, where he would live for the rest of his life. There was plenty of space, and the surrounding countryside allowed him to explore the engagement between the landscape and the body, his sculptures and nature. Moore achieved international success from the 1950s, and established his foundation in 1977, which continues to promote his work to this day. Best-known for his large-scale semi-abstract sculptures of seated and reclining figures, he was also a very talented draughtsman, with a large output in printmaking, where he explored similar visual themes to his sculptures.
§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) BIRD THROUGH THE WALL, NO. 8Signed, inscribed and dated 'March '71' verso to each canvas, oil on canvas across two panels (Dimensions: 152.5cm x 244cm (60in x 96in), total size) (Qty: 2)Provenance: Gimpel & Weitzenhoffer, New York Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his. Bird Through the Wall, No. 8 is a large-scale artwork that unfolds across two canvas panels, just as the artist’s vision and inspiration did. The striking diptych is quintessentially Davie, with strong colour, graphic symbols that recur from other paintings, including the titular bird, and gestural, energetic and dynamic brushwork, where he patterns the paint, and allows it to splodge and drip. There is a clear power and energy at work here, though an exact meaning is difficult to distil.
§ BENNO SCHOTZ R.S.A., L.L.D. (ESTONIAN/SCOTTISH 1891-1984) ALICE AND THE RED QUEEN - 1975Signed, handwritten note affixed to base with date and explanation of design, bronze sculpture with gold patina (Dimensions: 20cm high x 21cm deep x 8cm wide (8in x 8.25in x 3.25in), excluding base)Note: The artist's note, affixed to the base, reads: Alice and the Red Queen. This composition illustrates an incident in 'Alice Through the Looking Glass.' The Red Queen takes Alice's hand and they begin to run. Alice is running very fast indeed, in fact she is flying thro' the air. Alice asks the Queen "Why is it that although we run so fast, yet the tree beside which we were standing when we began to run is still with us?" Answers the Queen "Here, my dear, if you want to get somewhere else you have to run twice as fast." This is the original design which I carried out on a large scale for a school. As a further explanation the Red Queen is the Queen in the game of chess. Benno Scotz Feb. 1975. Biography: Benno Schotz emigrated to Glasgow from Estonia in 1912, and gained an engineering diploma from the Royal Technical College. From 1914-1923 he worked in the drawing office of John Brown and Company, a Clydebank shipbuilders, while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full time sculptor in 1923 and rose to became a full member of the Royal Scottish Academy, head of sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and eventually Sculptor in Ordinary for Scotland in 1963.
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