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Lot 24
Diecast - two Revell diecast model motor vehicles both in 1:18 scale to include No. 08917 Messerschmitt KR200 and BMW Isetta 250, model No. 08912, both models in original window boxes, also included in the lot is a Franklin Mint 1907 Rolls Royce Silver Ghost 1:43 scale unboxed with accompanying literature (3). Estimate £30 - £50
Lot 254
A good lot to include an Oxford Diecast Battle of Britain collection set in 1:72 scale comprising a Supermarine Spitfire Mk I,a Hawker Hurricane Mk I and Gloster Gladiator Mk II contained in original packaging, a Red Arrows DVD and book set, a Corgi Aviation Archive diecast model of # AA36203 Gloster Sea Gladiator and two Airfix model kits both in 1:72 scale comprising De Havilland Vampire T.11 and Eurofighter Typhoon F Mk II. (5)
Lot 305
Diecast - Lot to contain a Corgi # 05508 limited edition 1999 Mini Se7en & Mini Miglia Championship Winners with Brands Hatch Diorama, contained in original box, three Exclusive First Editions 1:76 scale diecast models of buses and a Corgi # 97172 Burlingham Seagull Stratford Blue, all in original packaging.
Lot 312
Corgi Vintage Glory - four 1:50 scale diecast models comprising Fowler B6 Crane Engine (Wolverhampton Wanderer) # 80108, Sentinel Steam Wagon Shepherd Neame # 80003, Foden Steam Wagon with Tank, Inde Coope # 80204 and Sentinel Platform Wagon, Trailer and Load, United Africa # 80007, all appear mint in box [4]
Lot 8
Diecast Models - a quantity of diecast model motor vehicles to include a Corgi limited edition 1:43 scale Peugeot model #EX70613, Corgi Bedford 19302, Corgi Fire Rescue Service 19201, Corgi Renault #EX70522, Chevrolet Fire Chief 51201, San Diego Chevrolet Sheriffs Car 51301 also included in the lot are Oxford diecast advertising vans, Vitesse, Stilo and other
Lot 117
Ponting (Herbert, 1870-1935). An album of photographs of Japan, compiled by Herbert Ponting, c. 1906-10, a total of approximately 200 gelatin silver prints, printed on thin photographic paper and neatly pasted in the album on rectos and versos throughout, numbers in the range 300 to 755 inscribed besides most of the photos (relating to an overall numbering system used by Ponting from 1907 or earlier), subjects include Mount Fuji and other Japanese volcanoes, palaces, temples, natural beauty spots, and people, including craftsmen at work and in less formal, unnumbered photographs, friends and acquaintances Ponting met on his travels, images 17.5 x 12.5 cm or smaller, contemporary cloth, rubbed, oblong folio The photographs were taken between 1901 and 1906, while Ponting was based in America and travelling regularly to Japan and other countries in Asia. Many were published during his lifetime as stereoviews or in books (including his own Fuji-San, Japanese Studies, and In Lotus Land, Japan) and magazines in Britain, America and Europe. Large-scale prints of many of the photographs in the album were also exhibited in London before Ponting left for Antarctica in 1910. Notable amongst the photogrpahs of craftsmen are several of renowned Cloisonn‚ maker Y Namikawa of Kyoto and his studio workers. Provenance: Acquired from or following an exhibition and sale of Ponting's effects held in his London flat after his death in February 1935, and now being sold by successors of the original acquirer. (1)
Lot 362
*Style of Joseph Mallard William Turner (1775-1851). An early English manor house, small-scale watercolour on paper, 62 x 92 mm (2.5 x 3.6 ins), antique-style gilt frame, glazed, with printed label of David E. Green Gallery, 188 Dartmouth Road, London, to verso, and handwritten attribution to Turner signed by Andrew Wyld (1)
Lot 408
*Attributed to Abraham Bloemaert (1564-1651). Landscape with thatched barn, shepherd reclining and man leaning on a staff, circa 1610-20, pen and brown ink on laid paper, inscribed in ink in a 17th century hand to verso: 'n.9' upper left, 'no. 30 - p.g.15 I 29 dec 88.' centre of top margin, and 'P. Autore Fiamingo' centre, several minor chips and one short closed tear to sheet edges at upper left and upper right (with discreet archival repairs to verso), image size 188 x 291mm (7.4 x 11.5 ins), sheet size 213 x 318mm (8.4 x 12.5 ins) Provenance: Private Collection, Dorset. A relatively large-scale Flemish landscape drawing. The subject matter is similar to the series of farmhouse landscapes by Bloemaert which were engraved by Boetius Adams Bolswert and published under the title Verscheyden aerdige Lanthuysen nae t'leven Gekonterfeyt by Claes Jansz. Visscher in 1620. (1)
Lot 462
*De Morgan (Evelyn, 1855-1919). Female nude study for Boreas and Oreithyia, pencil on card, full length female nude, dust-soiled, some ink marks to left-hand edge, and toned vertically to right (affecting forearm), sheet size 36 x 25.5cm (14 x 10ins), together with Compositional sketch for Boreas and Oreithyia, charcoal and pencil on card, showing a winged male figure with a female nude and drapery, lightly dust-soiled, sheet size 40.5 x 31cm (16 x 12ins), plus a further compositional study of figures, pencil on card, showing three females nudes, one bowed over on the ground and the other two rising up amongst swirls of vapour, sheet size 24 x 14.5cm (9.5 x5.75ins) 'Boreas and Oreithyia' was completed in 1896 and exhibited at the Society of Oil Painters 1899-1900, the Walker Art Gallery in 1900, and at Wolverhampton in 1907, before being purchased by the artist's sister Mrs. Stirling. It was left in trust, with the rest of Mrs. Stirling's collection, to the De Morgan Foundation, which she had personally established ('Evelyn De Morgan, oil paintings', DMF, 1996, plate 33). A large scale oil, the work depicts Boreas, the Greek god of the north wind, carrying off Oreithyia (daughter of Erechtheus) from the banks of the Ilissus. Oritheyia was modelled by Evelyn's maid, Jane Hales, and for Boreas she used a professional artists' model, who also modelled for Edward Burne-Jones's 'The Beguiling of Merlin'. The De Morgan Foundation has eight further drawings, both figure and compositional studies, which were executed in preparation for the full-scale work. Our female nude, interestingly, shows the body at a less acute angle than in the finished oil, or indeed than in the accompanying compositional sketch. Together with the De Morgan Foundation studies, the drawings offered here help to build up a picture of the artist's detailed and thorough working processes. (3)
Lot 569
A collection of assorted aeroplane model kit spares & accessories to include; Airfix & Revell wings, engines, bombs, weapons, sealed bags of plane parts for various sets, Academy Hobby Model Kits A-37B Dragonfly, Revell Master Class airbrush spay gun kit (mint), Badger precision spray set, Premier Planes British Airways collectable scale model A319 passenger jet & others. Mainly loose, with some kits/ models boxed.
Lot 207
KONSTANTIN ALEXANDROVICH VYALOV (RUSSIAN 1900-1976) Surami Pass, 1933 oil on canvas 99 x 79.5 cm (39 x 31 1/4 in.) signed, titled and dated lower right PROVENANCE Acquired from the family of the artist Collection of Victor Kholodkov Private Collection, New YorkLOT NOTES Konstantin Vyalov was a well-known Russian (Soviet) painter, graphic and theatre artist known for his large-scale industrial and naval paintings as well as posters and book illustrations. In 1914-1917 studied at the Stroganov School of Applied Arts, reorganised during the revolution as GSKhM (Independent State Art Studios), better known as a part of VKhUTEMAS, where Vyalov studied under Kandinsky and Tatlin (1918-1920) and later Shterenberg (1920-1924). His early period was highly influenced by Malevich and the Constructivist and Suprematist movements at large. Vyalov was one of the founding members of OST (along artists such as Aleksandr Deyneka and Yuri Pimenov). After the dissolution of the collective, he became part of Izobrigada (1931-1932). Throughout the 1920s and 1930s, Vyalov worked primarily as a book illustrator and on political and anti-religious posters (he would go on to also create a series of war posters for TASS` "Windows"), eventually turning to Social Realism. While traveling throughout the USSR in the early 1930s, Vyalov made a series of works documenting the industrialisation of the country, from Crimea, Turkmenistan, and the following work, painted in Georgia in 1933. Vyalov was apparently thrilled by the rapid appearance of technology (like the train at the focus of this composition) in predominantly-agrarian regions. From 1933 to 1940 Vyalov also designed the All-State Agricultural Exhibition, later known as the VDNKh trade shows. He exhibited frequently around the USSR (in 1923 along Popova, Rodchenko, Exter; in 1930 with Malevich) and abroad, including in Paris with Altman, Kandinsky, Mayakovsky, and Stepanova (1925), in Leipzig (1927) with Lissitzky, as well as in Berlin (1927, 1928), Venice (1932), New York (1933) and London (1934). His works are held in the Tretyakov Gallery, the Pushkin State Museum of Fine Arts, and the Russian Museum, as well as smaller regional museums and private collections.
Lot 438
Daniel Clowes (British, 1774-1829) Unboxing, The Off, The Chase, The Kill; scenes with a Harrier pack - after Samuel Howitt's (1756/57-1822) engraved compositions of Hare Hunting scenes, published 1798-99 all signed "D Clowes pinxit / Howitt del"; and "The Kill" also dated "1822" oil on canvas (a set of four) 59 x 85cm (23 x 33in) Provenance: From a Buckinghamshire country house All four paintings are executed on canvas supports which have been lined. The paint layers have localised areas of flaking and loss, the painting with a hare is actively flaking on a small scale. All of the paintings have a yellowed, dull varnish with various scuffs and scratches. The frames have suffered from wear and abrasion.
Lot 573
A George III ebonised bracket clock, the break arch case with handle above 8inch (20cm) painted dial, with strike silent to the arch and Arabic numerals, rectangular brass scale side frets, twin fusee movement signed 'Samuel Robson, North Shields' to the backplate, pull repeat cord, on a moulded base 43.50 x 29.50cm (17 x 12in) lacks glass to door, lacks one side moulding to the base, lacks lower moulding to rear door and one small upper corner moulding. Sold as seen
Lot 150
A pair of early 19thC Henley family crested silver coasters, each of circular outline with upper shell and scroll banding, centred by crests on a cedar lined base, with repoussé decorated scroll, flower head and shell body, marks rubbed, 15cm wide, 16oz all in. (2) N.B The crests refer to The Henley Family of Waterderry House, Oxon, large scale shippers during the Napoleonic Wars.
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