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Lot 1
A rare full set of Hamilton Gifts made 1991 ' The Beatles ' action figures / 1:6 scale (approx) figures. Each mounted on it's original 'autographed' display base - with accessories. All unboxed, but all appearing complete (Ringo is missing a cymbal stand) . x3 with original tags present. Only ever displayed (some dust present). Great Beatles figures. Each approx; 28cm tall.
Lot 216
A collection of Elvis Presley memorabilia diecast model cars to include a 1:18 scale ' Elvis's 1955 Pink Cadillac ', a Graceland ' the King of Rock n Roll ' pink pickup truck, a Graceland ' 'The Comeback Special' black pick-up truck, a Harley Davidson model KH motor bike and a ' The Sun Never Sets on a Legend' ten wheeler truck.
Lot 337
Philip Smith (1928-2018) A 20th Century book binding artist - A mid 20th Century oil on canvas painting depicting a nude female standing at a window and gazing at the viewer, gesturing to the garden outside. Painted in greys scale with small planes of colour and visible brushstrokes, the hair being highlighted with yellow tones. Signed C Philip Smith 1958 to the lower left corner and framed. Measures 93cm x 103cm.
Lot 765
GENTLEMAN'S BALL DC1026A AUTOMATIC STAINLESS STEEL HYDRO CARBON ENGINEER CHRONOGRAPH WRIST WATCH, the round black dial with baton hour markers in white, inner count up scale in yellow Arabic numerals, day and date apertures at 3, sunken subsidiary dials at 12, 6 and 9, lume sword hands, yellow centre seconds hand, 42mm case with 7717196, DC1016A to the caseback, on a Ball black tropic strap with Ball clasp, in box, with outer box, with guarantee card not completed by retailer
Lot 14
ALEXANDER NASMYTH (SCOTTISH 1758-1840)VIEW OF EDINBURGH FROM BLACKFORD HILL Oil on canvas71cm x 91cm (28in x 36in)Provenance:Col. D.Anderson, ColinsburghChristie's Glasgow, April 1982, lot.167 Literature:J.C.B.Cooksey, Alexander Nasmyth 1758-1840, 1991, p.88, ill. 30, 'Unpublished papers of 1806 in the Collection of Col. D.Anderson of Colinsburgh list this painting as Edinburgh from Blackford Hill' Note:This painting was previously on loan to and displayed at the National Galleries of Scotland Note: Alexander Nasmyth was described by his artist colleague, Sir David Wilkie, as 'the founder of the landscape painting school of Scotland,' due to both his commitment to the genre and the legacy of his teaching. In fact, his training and career was split across both landscape and portraiture, beginning with his early tutelage under James Cumming and Alexander Runcimann within the Norie tradition of decorative landscape painting, followed by a period in the studio of the renowned portraitist Allan Ramsay. Nasmyth then established his own successful portrait practice and developed a particular niche painting conversation pieces, often family groups in front of their residence and grounds, a combination of the two aspects of his training and talent and also an acknowledgment of his further personal interest in architecture. Two years in Italy allowed him to further develop his landscape approach, often including an architectural element, as seen in the crumbling arch within the Italian scene offered here (Lot 16). In this, Nasmyth's meticulous depiction of the details reveals the delicate beauty of the vignette; it is expertly framed within his distinctively patterned leaves with a distant landscape unfolding beyond, a method of layering and framing that he repeats regularly and successfully in much of his work. Yet he only turned fully to landscape in Edinburgh around 1792 as portrait commissions began to reduce, possibly due to his increasingly severe political views being incompatible with those of his potential subjects.A key figure of the Edinburgh cultural Renaissance at the start of the nineteenth century, Lyon & Turnbull are delighted to be offering two further lots of work by Nasmyth within the Scottish Paintings & Sculpture auction. The pair of circular paintings offered (Lot 15), pre-date his change away from portrait commissions, and are his earliest dated landscape paintings. They remain unusual, and possibly unique pieces within his oeuvre, small scale and executed in oil on copper; a medium known for its capacity to exhibit both delicacy and luminosity. Nasmyth's technique remains delicate and considered, with a lovely handling of light in both scenes. View of Edinburgh from Blackford Hill is a particularly Scottish view, capturing the rugged and distinctive topography that characterises the capital city, and the stretch of water and landmass of Fife that unfolds further North. Nasmyth's talent for balance and perspective across a composition is revealed as these different landscape layers unfold from the countryside setting where we stand and view. With a prestigious provenance, having recently been on loan to and exhibited at the National Galleries of Scotland, this is a true slice of Scotland.
Lot 16
ALEXANDER NASMYTH (SCOTTISH 1758-1840)A RUINED BRIDGE OVER A RIVER, ITALY Oil on canvas46cm x 61cm (18in x 24in)Literature:A painting of the same subject but with figures is illustrated in J.C.B.Cooksey, Alexander Nasmyth 1758-1840, published in 1991, p.28 ill.125 Note: Alexander Nasmyth was described by his artist colleague, Sir David Wilkie, as 'the founder of the landscape painting school of Scotland,' due to both his commitment to the genre and the legacy of his teaching. In fact, his training and career was split across both landscape and portraiture, beginning with his early tutelage under James Cumming and Alexander Runcimann within the Norie tradition of decorative landscape painting, followed by a period in the studio of the renowned portraitist Allan Ramsay. Nasmyth then established his own successful portrait practice and developed a particular niche painting conversation pieces, often family groups in front of their residence and grounds, a combination of the two aspects of his training and talent and also an acknowledgment of his further personal interest in architecture. Two years in Italy allowed him to further develop his landscape approach, often including an architectural element, as seen in the crumbling arch within the Italian scene offered here (Lot 16). In this, Nasmyth's meticulous depiction of the details reveals the delicate beauty of the vignette; it is expertly framed within his distinctively patterned leaves with a distant landscape unfolding beyond, a method of layering and framing that he repeats regularly and successfully in much of his work. Yet he only turned fully to landscape in Edinburgh around 1792 as portrait commissions began to reduce, possibly due to his increasingly severe political views being incompatible with those of his potential subjects.A key figure of the Edinburgh cultural Renaissance at the start of the nineteenth century, Lyon & Turnbull are delighted to be offering two further lots of work by Nasmyth within the Scottish Paintings & Sculpture auction. The pair of circular paintings offered (Lot 15), pre-date his change away from portrait commissions, and are his earliest dated landscape paintings. They remain unusual, and possibly unique pieces within his oeuvre, small scale and executed in oil on copper; a medium known for its capacity to exhibit both delicacy and luminosity. Nasmyth's technique remains delicate and considered, with a lovely handling of light in both scenes. View of Edinburgh from Blackford Hill is a particularly Scottish view, capturing the rugged and distinctive topography that characterises the capital city, and the stretch of water and landmass of Fife that unfolds further North. Nasmyth's talent for balance and perspective across a composition is revealed as these different landscape layers unfold from the countryside setting where we stand and view. With a prestigious provenance, having recently been on loan to and exhibited at the National Galleries of Scotland, this is a true slice of Scotland.
Lot 136
KAMIL LHOTÁK 1912 - 1990: WATER TANK FOR A STEAM LOCOMOTIVE 1979 Lithograph print on paper 77 x 60 cm Signed lower right on print: "79" and in pencil: "Kamil Lhoták 79" Following a decades-long hiatus, 1979 reunited Kamil Lhoták with František Gross and František Hudeèek from the former Group 42 art group. They exhibited together at Galerie Kniha and at the Small Gallery at Èeskoslovenský Spisovatel publishing house in Prague. It was a very fertile year that gave rise to fifty artworks, and it was at exhibitions where Lhoták presented his new illustrations. This large print is dominated by a large bright blue cistern with protruding pipes. In contrasting, miniature scale, a human figure is depicted on the horizon in the background.A fascination with civilization and the modern world is a common thread throughout Lhoták’s oeuvre, as he himself explained: “I’ve always been interested in landscapes where nature combines with civilization, artificial landscapes in which man intervenes. For me what's exciting is the tension that arises between the primordiality of the Earth and the human touch, especially the touch by man – machines. There is always some deformation that creates a new beauty and picturesqueness … it is a new poetry as created, consciously and sometimes unwittingly, by man living in 20th century civilization. It possesses dynamics, strength, and courage, and sometimes things that contain a hidden sadness.”
Lot 9
JOHANN CHRISTOPH MÜLLER 1673 - 1721: MAP OF THE KINGDOM OF BOHEMIA 1722 Colorized copperplate engraving on paper 240 x 282 cmOne map on 25 sheets, scale: 1:132,000. The Baroque Müller's Map of the Kingdom of Bohemia represents a masterpiece of Bohemian cartography in terms of both topography and artistry. Until multi-page military maps were published in the mid-19th century, this was the largest map of the Kingdom of Bohemia.
Lot 228
A Second World War Japanese Heiho Conversion of a Dutch Klewang, the 43cm cut-down steel blade stamped HEMBRUG to one side of the ricasso, the opposing side stamped with a crowned L, the steel hilt with two piece wood grip with three brass rivets, the brass mounted leather scabbard faintly stamped ???/1 40, 63cm. Pitting to blade and hilt. Chip to right grip scale at pommel end. Some bruising and scuffing to the leather scabbard, the brass shoe is missing its staple fasteners.
Lot 357
PURCHASER MUST BE 18 YEARS OF AGE OR OVER A Post-War Webley Senior .177 Calibre Air Pistol, with blued finish and chequered brown bakelite grip scales, numbered 784; a Webley Junior MK.II .177 Calibre Air Pistol, with blackened finish and chequered black plastic grip scales, numbered 621 (2) . Senior works, has a small repair to the left grip scale at one corner of the butt end. Junior works.
Lot 387
A Hammond 'Bulldog' Patent Single Shot .44 Rimfire Deringer, the 10cm octagonal steel barrel stamped with maker's name CONNECTICUT ARMS & MANF.G CO., NAUBEC, CONN., the breech block marked PATENTED OCT.25 1864, with one damaged and one replaced grip scale, 20cm . Grey pitting to metalwork. Action works but is stiff. Unable to break for loading.
Lot 388
A Remington Army .44 Calibre Six Shot Percussion Revolver, with blued finish, the 20cm octagonal steel barrel stamped to the top flat PATENTED SEPT.14,1858/E.REMINGTON & SONS, ILION, NEW YORK,U.S.A., the underside numbered 19463, with German silver cone foresight and visible barrel threads at the breech, hinged rammer, brass trigger guard and walnut grip scales, 34cm. Action works, but is sticky. Small edge nicks to extremities of barrel. Pitting to bore. Small cracks to right side of grip scale.
Lot 389
A Colt Model 1862 Police .36 Calibre Five Shot Percussion Revolver, the 11.5cm round steel barrel marked ADDRESS COL.SAML.COLT NEW-YORK U.S.AMERICA, the left side of the frame stamped COLTS/PATENT, 36 CAL, with brass trigger guard and back strap, all metal parts numbered 17102, 24cm (af). Action works. Black patching and deep pitting to steel work. Left grip scale is missing the upper section due to worm damage.
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