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Lot 1668
Four Corgi Aviation archive die cast model aeroplanes, scale 1:72, boxed, comprising P-51B-5-6819 - Capt Duane W. 'Bee' Beenson, US37107, Hawker Typhoon MK.1b-DN323, AA36501, Supermarine Spitfire FVIII, AA31924, and an FW-190A-4, AA34305, boxed, together with a SkyMax Lavochin LA-5, boxed, (5).
Lot 519
19th Century military 36', mahogany rule box inlaid and with incised 36' scale and with brass sliding ends with screw apertures for drawing apparatus, one slide engraved 'CARY, 181 STRAND, LONDON', the other slide with military arrow and R-114, the fitted stained case with stencilled painted board arrow and 'H.O. R.114.'.
Lot 178
*Shawl. A large lam‚ brocade shawl, circa 1920s, scarlet silk brocade shawl with ornate large-scale floral and foliate design, largely picked out in gold, slightly tarnished and marked in a few places, but overall in bright condition, 163 x 163cm (64 x 64ins) A striking shawl with a vivid Art Deco pattern of stylised flowers and leaves. (1)
Lot 251
*Attributed to William Osborne Hamilton (1751-1801). The Triumph of Venus and Cupid, fine large-scale watercolour on paper, several closed tears repaired, including a horizontal closed tear across the whole of the upper portion of the image, but generally without loss, 58.5 x 90 cm (23 x 35.5 ins) mount aperture, framed and glazed Hamilton exhibited a work of this title at the Royal Academy in 1797. (1)
Lot 330
*De Morgan (Evelyn, 1855-1919). Compositional study for By the Waters of Babylon, black & white chalks on blue-grey paper, showing a frieze of seven figures, one with a harp, in a landscape with trees, image size 21.5 x 40cm (8.5 x 15.75ins), sheet size 28 x 42cm (11 x 16.5ins) A preliminary sketch for 'By the Waters of Babylon', Evelyn de Morgan's large scale oil painting, illustrating the Biblical story of the exile of the Jews in Psalm 137. She finished the work in 1882, and it is now held by the De Morgan Foundation ('Evelyn De Morgan, oil paintings', DMF, 1996, plate 11). This early study is typical of the artist's first loose compositional sketches for a work. It is interesting to see that, although two of the main figures present in the oil painting do not yet take their place, the final composition in outline deviates little from her initial concept. (1)
Lot 345
*Heaphy (Charles, 1820-1881, after). Thorndon Flat and Part of the City of Wellington, New Zealand, circa 1840s, oil on canvas, unsigned, 62 x 74 cm (24 x 29 ins), contemporary probably totara or rimu burr veneer frame Provenance: Acquired by Dr Charles Arundel Overbury Fox (1886-1971) from Francis Edwards, London, circa 1935. Fox was an English collector of early New Zealand and Pacific works of art; acquired by the current owner's family from the estate of Dr Fox following his death in Birmingham, England, in 1971. Some brief manuscript notes of provenance in Dr Fox's hand and a letter from Rex Nan Kivell of the Redfern Gallery, London, dated 20 May 1959,are offered with the lot. The letter from Rex Nan Kivell suggests a connection with a lithograph Charles Heaphy and says that he has a painting of the same size that is obviously a copy from the lithograph. An early large-scale painting of the harbour and settlement of Wellington in New Zealand. As a composition, this painting is most similar to that engraved byThomas Allom after the drawing by Charles Heaphy entitled 'Part of Lambton Harbour, Port Nicholson, New Zealand; Comprehending about One Third of the Waterfrontage of the Town of Wellington, April, 1841', published for the New Zealand Company in 1842. Unlike the original watercolour of the same scene which has no figures by the flagpole on 'Flagstaff Hill' from where the scene is observed, two groups of three figures have been added into the engraving, one European and five Maori. The flag in the watercolour is that of the New Zealand Company while the lithograph shows a Union Jack. The painting here offered shows many similar characteristics to the watercolour and print and strongly suggests the artist had knowledge of the print. Charles Heaphy was employed by the New Zealand Company as a draughtsman and drew his watercolour in April 1841. He presented the new settlement in a positive light in order to attract new immigrants and investors, showing cows wandering on the beach, the Maori in the foreground welcoming a European, and the gentle hills suggesting suitability for farming. Heaphy is not known to have painted in oils. The painting here has five figures set in two groups by the flagpole, but also shows European and Maori figures, a man in a straw hat facing the viewer possibly being that of the artist. The flag is that of the New Zealand Company and unlike Heaphy's watercolour and the print after it, is shown furled and not blowing in the breeze. There are fewer boats in the harbour in this painting than in Heaphy's version and while there are no cows on the beach there are various figures in front of the Maori settlement. The tide is out and shows a tongue-shaped spit of sand near identical to Heaphy's depiction; the settlements along the far shore and rising chimney smoke below the hills are very similar too. With thanks for the assistance of Dr Oliver Stead of the Alexander Turnbull Library, Wellington, New Zealand. (1)NB. The frame details given in this lot description have been amended from walnut burr.
Lot 354
*Boissieu (Jean-Jacques de, 1736-1810). Pie VII souverain pontif cedant … l'empressement des Lionnois, 1805, etching on laid paper, together with Le Moulin de Ruysdael, 1774, etching on laid paper, plus other similar large etchings by Boissieu including Entr‚e du Village de Lantilly, 1804, landscapes after Ruysdael, Asselin, Poussin, etc., circa 1773-1804, various plate sizes (8 large-format uncoloured etchings and 7 smaller scale etchings with hand colouring), all by Boissieu, sheet size 40.5 x 58 cm (16 x 22.75 ins) (15)
Lot 385
*Mottram (Charles, 1806-1876). The Plains of Heaven, after John Martin, 1857, large-scale mixed method engraving by Charles Mottram after John Martin, published January 1st 1857 by Thomas McLean, plate size 71 x 103 cm (28 x 40.5 ins), with margins, modern frame, glazed One of three large engravings published by McLean on the 1st January 1857 by Mottram after John Martin's famous paintings which toured Britain and America in the 1850s and 1860s (the other two being The Last Judgement and The Great Day of His Wrath). (1)
Lot 396
*Thomassin (Filippe, 1562-1622). The School of Athens, after Raphael, 1617, reissued 1648, fine large-scale engraving on two conjoined sheets of laid paper, published by Giovanni Jacomo De Rossi, Rome, 1648, light waterstain to extreme lower right corner, plate size 49 x 80.5 cm (19.25 x 31.75 ins), sheet size 60.5 x 90 cm (23.75 x 35.5 ins), framed and glazed (1)
Lot 77
A gentleman's Rolex Oyster Precision stainless steel wrist watch on later non conforming black leather strap, circular brushed silvered dial with silver dagger baton markers, outer minute scale, centre seconds, automatic movement, stamped Registered Design 6424 and 2825 between lugs, in going order
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185385 item(s)/page