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Lot 629
18 boxed Airfix Kits, mostly cars from various different series although this lot does include a '1910 B type Bus kit' which appears unstarted and also includes a 'Present Set containing four individually boxed 1/32 scale car kits and anAston Martin DB6 in 1/24 scale which has been started. Some kits do reatain their outer shrink wrap and some appear to have been started. All kits in opened packaging are unchecked for completeness. (18)
Lot 550
10 Minichamps diecast model cars including six 24h ADAC Nurburgring 2010 cars in 1:43 scale, two Porsche road cars and an Alfa Romeo Spider in 1:64 scale, a 1:43 scale Mercedes Benz C-Class DTM 2010 D. Coulthard model, limited to 1008 pieces and a 1:12 scale Honda NSR 500 Motorcycle 'Valentino Rossi GP Le Mans 2001', all appear VG/E boxed. (11)
Lot 545
An unboxed Tri-ang Spot-On 110/4 AEC Mammoth 4000 Gallon Tanker 'Shell/BP'. The green and black paintwork on the cab and chassis appears to be largely original with number plate 'SLT105' to front bumper only. The model would appear to have been fitted with a more modern red tank, which whilst carrying similar Shell/BP logos to those found on the original model, is somewhat smaller in scale. The vehicle retains its spare wheel. A Tri-ang 'Toys For Christmas' large format 8 sided Catalogue is also included as part of this lot and this catalogue illustrates the Spot On AEC Tanker, albeit in the later yellow and white Shell/BP livery, together with other models available at the time from the 'Spot-On' range as well as a wide variety of other Tri-ang Toys. (2)
Lot 440
* Martin (John, 1789-1854). Belshazzar's Feast, 1826, large-scale mezzotint engraving published June 1, 1826 by Mr Martin, 30 Allsops Buildings, New Road, trimmed to plate mark, sometimes touching engraved area, some closed tears repaired, mainly to margins, sheet size 51.5 x 72cm (20.25 x 28.4 ins), framed and glazed, with printed label of Sanders of Oxford to verso (Qty: 1)
Lot 207
* Flemish School. The Village Feast, circa 1650-1700, oil on canvas, with old relining and surface restoration (probably mid 20th century), 20th-century English inscription to lower edge of the stretcher verso 'Atterwell Clean & Reline MIN £55', and 20th-century printed label of the Fine Arts Studio, Specialists in Restoration of Oil Paintings, The Old Vicarage, Ticknall, Derbyshire, 87.5 x 101.5 cm (34.5 x 40 ins), antique-style gilt moulded frame (Qty: 1)NOTESProvenance: Believed to have been part of the collection of Sir Robert Peel, 1788-1850, at Dosthill Hall, near Tamworth, Staffordshire. Tolson Family (resident at Dosthill Hall from the 1850s onwards), by descent to Rodney Tolson Gausden (1923-2015), of Sutton Coldfield. A large scale scene of a Flemish village feast, or kermesse, possibly for the Feast of the Annunciation (25th March), as a single bird hovers almost directly above the church in the distance, possibly therefore symbolising the dove of the Holy Spirit. Elegantly dressed figures mix with peasants, some of whom are dancing and drinking outside a tavern to the right, while a procession of figures file towards the church in the distance. The Flemish tradition of village feast painting was established by the Bruegel dynasty (including Pieter Bruegel the Elder, circa 1525/30-1569), and continued by other artists, including David Teniers (1582-1649) and David Vinckboons (1576-before 1633).
Lot 243
* Attributed to Giovanni Francesco Grimaldi, il Bolognese (Bologna 1606-1680 Rome). Courtyard with Fountain and Figures, Buildings and Palazzo, pen and brown ink on laid paper, with outer border in dark grey ink and green wash, with early inscription in brown ink to lower blank outer margin 'I Francisco Bolognese', sheet size 121 x 169 mm (6.65 x 4.76 inches) (Qty: 1)NOTESProvenance: Estate of Eduard Rosenbaum (1887-1979), diplomat at the Versailles Treaty negotiations, economist, Syndic of the Hamburg Chamber of Commerce and director of its library. Expelled from his post by the Nazi regime in 1933 he emigrated to London where he was appointed Librarian and Head of Acquisitions at the London School of Economics. Board Member of the Leo Baeck Institute, London. A similar small-scale drawing attributed to Grimaldi of a river landscape with pollard tree and boatman, with near identical inscription was sold at Christie's, Old Master & British Drawings & Watercolours, London, South Kensington, 5 December 2013, lot 26, formerly in the Crozat Collection.
Lot 58
John Behan RHA (b.1938)Famine Ship (2005)bronzesigned and dated 200572 x 66 x 40cm (28.3 x 26 x 15.7in)Provenance: Private Collection John Behan has explored many themes of ancient mythology, literature and legend. Each theme is moved to a depth of exploration, the imbued meaning in the works derive from his own in-depth knowledge of his subject, which is translated into the shape and form of his bronze work. John Behan is renowned for his many themed works, his great Bulls, Birds or Famine Ships, 'Paiste' and 'Family' are other universal themes explored by Behan. In their simplicity of depiction they are created with an energy; great metaphors of life's journey. John Behan first created The Famine Ship to stand at the base of Croagh Patrick, County Mayo. Fierce in impact, the hull of the boat is birthed at land, the mast laden with the skeleton bodies of lost emigrants. In large or smaller scale The Famine Ship series carries an indescribable depth of history, poignant loss and struggle for life. Commissioned by the Irish government to commemorate the contribution of Irish emigrants worldwide, a 26-by-24-foot bronze themed piece on The Famine Ship entitled "Arrival" now stands in the plaza in front of the United Nations headquarters in New York.
Lot 51
Charles Brady HRHA (1926-1997)Envelopesoil on canvassigned lower left43 x 54½cm (16.9 x 21.5in)Provenance: Private Collection Charles Brady was a New Yorker. After wartime service in the navy, he studied painting and began to exhibit, but then found his way to Ireland in 1956 and settled. He became well known - and well liked, personally - for his small, impeccably judged compositions of single motifs, most famously envelopes, though he also liked landscape. His paintings have a Morandi-like quietness and, despite their modest scale, an air of monumentality. They are also witty plays on ideas of flatness and depth, as in this study of envelopes.
Lot 74
Hughie O'Donoghue RA (b.1953)Morass Portion (2002) oil and photographic element on canvas signed, titled and dated 2002 verso 116½ x 149½cm (45.9 x 58.9in) Provenance: Acquired directly from the artist by the present owner For Hughie O'Donoghue painting, and art in general, has been a process of research and excavation. Born in Manchester to Irish parents, he spent his childhood summers in rural Co Mayo with his mother's family (his father's family had lived further down the west coast). He became interested not only in his own family history - his father, who worked as a railway clerk and was extremely well read and musical, had served in the British Army during the Second World War - but in the circumstances of that history, how individuals are carried along on currents outside of their control. When he came across an image of one of the so-called bog people, those bronze age individuals whose remains were preserved by the anaerobic quality of dense peat, he realized he had a way to approach painting. Over time, he produced many series of works that delved into his father's wartime experiences, and his mother's family background in Mayo. In the meantime, he received a commission to make a series of paintings on The Passion, which he did, on an epic scale. In fact, he has generally sought to work in epic terms: his parents' lives, his work suggests, are the epic tales of ordinary people, those who fashion the fabric of the world but are generally unsung. He has long used large-scale photographs embedded in the surface of his paintings, initially archival or found images, and then his own staged photographs, often with his own daughter and son as protagonists. He was long aware that the landscape, especially the vast, boggy expanses of Mayo, can swallow things up, absorbing the dwellings, boundaries, and even the animals. Cars abandoned to corrode and disappear into the earth are a not uncommon aspect of life in rural Ireland. Here the dilapidated saloon car, slowly becoming submerged in the wet land, becomes an emblem of the hopes and dreams of those who once lived and farmed there. Aidan Dunne, September 2019
Lot 40
William Crozier HRHA (1930-2011)Plant Room at Night (2000)oil on canvassigned lower left and titled verso80 x 100cm (31.5 x 39.4in)Provenance: Private Collection Literature: Kennedy, SB 'William Crozier, an introduction' in William Crozier ed. Crouan, K; with essays by Kennedy SB and Vann, P. Lund Humphries. London and Aldershot 2007, p.18, p.146, pl.133 illustrated. Although primarily thought of as a landscape artist, the still life was always important for William Crozier as it allowed him to 'compose within the canvas', as he said. His subjects could be the objects around his home or, as here in The Plant Room at Night, the pots and beakers on his studio table. Crozier never considered these modest subjects as small-scale or domestic; instead he transformed them into objects as monumental as the grandest landscape. Crozier was strongly attracted to the tradition of still life painting which he believed was capable of conveying profound emotion. 'It is one of the greatest concepts of Western art' , he said, 'which defines the essence of the European mind' 'The Plant Room at Night, painted in 2000, was cited by SB Kennedy as 'Technically a tour de force (which) reaffirms Crozier's achievement and place in contemporary painting.'
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186097 item(s)/page