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Click here to subscribeA Danbury Mint 1:24 scale James Bond 007 Aston Martin DB5, 19cm long, in original packaging, with certificate, with three Franklin Mint 1:24 scale die-cast model vehicles, comprising: 'The 1967 Morris Mini Cooper S', 12cm long, in original box with certificate; a '1921 Rolls-Royce Silver Ghost', 20cm long, in original box with certificate; and a '1938 Jaguar SS-100', 16cm long, in original box; with a Road Tough 1:18 scale Shelby Cobra (5)
A porcelain entwined handle jug, 19th century, of waisted baluster form with stylised floral motif to the spout, acanthus leaf terminals to the handle, painted scale pattern to the shoulders, and polychrome floral sprays to the body, gilt highlights throughout, 12.5cm high; a pair of Bilston type enamel salts, early 19th century, of compressed circular form with cabriole legs on pad feet, each decorated with polychrome floral motifs, 6cm diameter; and a Royal Worcester reproduction 'The Blind Earl' goblet, 13cm high (4) (at fault)Condition reportBoth salts with repaired or cracked feet, the jug with multiple minor chips to the base rim, rubbing to the spout tip which is possibly restored.Goblet appears to be free from faults or damage.
A Marklin 1:32 scale 0-6-0 tank engine and tender, 'Ludwig K.Bay.Sts.B', model no. 54523, the locomotive 27cm long, the tender 20cm long, in original box (untested) Electrical lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Two Lehmann Gross Bahn LGB G scale 1 gauge locomotives, comprising: a 2-4-0 locomotive, 30cm long, and tender, 23cm long; and an 0-4-0 tank locomotive, 25cm long; with an Aristo-Craft 1 gauge 0-4-0 locomotive, three pieces of compatible rolling stock by Lehmann and others, a water tower and a quantity of track (Qty) (untested) Electrical lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
A Spode porcelain coffee cup, early 19th century, the London shape cup with winged figural handle, the body finely enamelled with floral sprays against a cobalt blue and gilt scale ground, red painted maker’s mark and Margaret Bentley Collection label to base, 8cm high; with a further London shape coffee cup, possibly Coalport, the interior enamelled with floral sprays below a cobalt blue and gilt scrolled border, gilt foliate sprays to the exterior, painted fraction mark ‘2/739’ and ‘MB Collection’ label to base, 6.5cm high with a Chamberlains Worcester porcelain model of a recumbent ram, probably early 19th century, on pink ground, painted maker’s mark, Margaret Bentley Collection label, 7cm long (at fault) and a Davenport porcelain cabinet breakfast cup and saucer, early 19th century, the cup of compressed Etruscan form with upturned handle, each piece enamelled with floral reserves against a cobalt blue ground, gilt highlights throughout, red printed maker’s mark to bases, the saucer with Margaret Bentley Collection label, the cup 5cm high, the saucer 14.5cm diameter; with a similarly decorated Davenport teacup and saucer, early 19th century, the cup of Etruscan form with upturned handle, red printed maker’s mark to bases, the saucer with Margaret Bentley Collection label, the cup 6cm high, the saucer 15cm diameter (at fault) See Berthoud (Michael), AN ANTHOLOGY OF BRITISH CUPS plates 503 and 504 for examples of the Etruscan cup shape. CONDITION REPORT:The Spode cup shows a glazing fault to the interior and rubbing to the gilt highlights throughout. The other cup shows pits and frits to the interior and rubbing to the gilt highlights. Neither shows any obvious chips, cracks, crazing or evidence of restoration. Both would benefit from cleaning.The ram shows surface crazing throughout, nibbles to the right ear, and rubbing to the gilt highlights.The Davenport cups and saucers both show crazing throughout and rubbing to the gilt highlights. One cup shows a stained hairline to the interior.
Mario Andretti signed Grand Prix Classics 1:18 Scale Ferrari 312B #6 Model in original box. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Rubens Barrichello signed Hot Wheels Racing Ferrari F1-2000 Model 1:18 Scale. Orignal Boxed. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
THREE CHINESE EXPORT ‘ROCKEFELLER' PATTERN HOT WATER PLATES (3)Jiaqing period, circa 1810 Each painted in the centre with figures at various pursuits, beneath a puce scale pattern well reserved with bird and landscape panels, the gilt filigree border reserved with further sepia and iron-red landscapes, 28.5cm wideOne has chips to the spout and small chips to the edges of the pierced drain.There is some black specking towards the top of the central panel. Some patches of wear along the edge of the panel. Overall minor wear to the puce enamel well and to the gilt border.Another plate with some patches of wear around the edge of the central panel. Some wear to the gilding.The third plate with some patches of wear to the central panel and some wear to the gilding
A LARGE CHINESE EXPORT `ROCKEFELLER' PATTERN HOT WATER PLATEJiaqing period, circa 1810 Painted with an interior scene with a lady seated with a monkey at her side and two attendants standing behind while another seated woman plays a stringed instrument, beneath a puce scale well reserved with bird and landscape panels, the gilt filigree border reserved with further landscapes, 35.5cm wideMinor wear and surface scratches to the central panel. Some wear to the gilding, particularly to the border and rim.
A Tunbridge ware coromandel wood obelisque form thermometer by Hollamby, the stepped base with geometric mosaic borders to a square base with a mosaic panel of a dog and two cube work panels, the obelisque with ivory thermometer scale stamped 'Hollamby, Tunbridge Wells', complete with mercury thermometer below a mosaic motif and flanked by floral mosaic panels, 7.7 x 7.7 x 17.5cms. Ivory exemption licence: CK9X4XBP A private collection of Tunbridge Ware
* Diana (1961-1997), Princess of Wales, 1981-1996. Typed Letter Signed, ‘Diana’, Kensington Palace, 7 March 1997, to Mrs [Elizabeth] Burton-Phillips, beginning ‘I was delighted to receive so many wonderful letters from pupils at Godstowe Preparatory School, on the subject of land mines. I am touched that you took the time to write, and I enjoyed reading them all. My visit to Angola was deeply moving. I was so impressed by the tireless efforts of those working to support land mine victims and their families, and those facing this seemingly endless, and tremendously daunting task of demining the land, continuing by saying that since her visit she has had many letters of support and hoping that ‘these weapons, that so indiscriminately destroy innocent lives, will be banned for ever’, and concluding, ‘Your letters were very [underlined in black ink] special, as it has meant a great deal to me to have been able to contribute to the highlighting of this terrible problem’, autograph salutation and subscription, ‘My love to you all, from, Diana’ in black ink, Kensington Palace letterhead, one page, tall folio (325 x 200 mm), tipped onto black backing paper, together with the accompanying typed and postmarked envelopeQTY: (2)NOTE:Mrs Elizabeth Burton-Phillips was Head of Religious Education at Godstowe Preparatory School in High Wycombe, Buckinghamshire. Her pupils had watched a video of Princess Diana’s Red Cross visit to Angola, following which they raised money for the appeal and wrote letters to Diana. This large letter, typed in a suitably big font, was clearly intended for display. Diana’s landmine walk in Angola on 15 January 1997 drew the world’s attention. The horrors and scale of the situation eventually led to the creation of the Ottawa Treaty in 1999, which aims to eliminate the use, production, stockpiling and transfer of anti-personnel landmines. Tragically, Diana herself died less than 6 months after this letter was sent.
A FASCINATING AND POSSIBLY UNIQUE ALBUM OF ANNOTATED BATTLEFIELD STUDIES BY A DIVISIONAL OBSERVER ON THE WESTERN FRONT DURING THE FIRST WORLD WAR. An album of 23 sketches by 2nd Lt Frank Buckley I.O. 149th Infantry Brigade, all fully annotated with landscape features, trees, villages, trenches and other important details. To include 'Somme. Scene of Attacks by 50th Division Oct. Nov. 1916'. Telescopic sketches with annotations 'Copy sent to 50th Division Field Artillery for the purpose of shelling a ruined house frequented by the enemy'. Panorama with Scale of Bearings used for locating Enemy Shelling on the Right Flank of Corps. Particularly useful at night'. 'Sketch to show the new work going on in German front line trenches'. 'This sketch shows the effect of our fire on tracks used by German Transport, also new camouflage screens'.With a letter dated September 1919 in which the artist describes the album 'A small souvenir book of the war, which may perhaps interest you from the military point of view. ... With the exception of the two Flanders sketches, all the pictures are reproductions (in ink) of documents used in the war. Divisional observer was the most interesting job I had; we had the advantage of 2 very powerful telescopes, and of a man (Pte. FAIL) whose eyesight was perfectly marvelous. He was also a fair sketcher, & I had no difficulty in interpreting the drawings for the Heavy Artillery. One of the great things I learned in France was that the artillery will fire on a sketch target where they wont fire on a map reference. And when my fellows had seen the H.A. knocking down the landscape in one of their sketches it made them red-hot keen.' ... 'The division also got very keen on getting a panoramic sketch made during the semi open war fare at the end of the campaign'. The album seems to have been created for a friend or family member, and Buckley has shown an interesting range of studies and locations. Album 23 x 30cm. *CR One page loose, one detached, very slight spotting and staining from glue.Generally very good condition with bright colours and clear text.
William Lionel Wyllie, RA, British 1851-1931- Fisherwomen sorting the day's catch; oil on canvas, signed with initials 'W.L.W.' (lower right), 24.5 x 32 cm. Provenance: Anon. sale, Bonhams, London, 14 September 2004, lot 227. Private Collection, UK. Note: The present work, depicting a quiet scene of a group of women absorbed in sorting the day's catch, is a slight departure from Wyllie's typical style, with his oeuvre principally consisting of large-scale views of boats at sea, or on the River Thames.
Attributed to Sebastiano Ricci, Italian 1654-1726- The Ascension of Christ, an oil sketch; oil on canvas, 74.6 x 62 cm. Provenance: The collection of Mr. Paul Rich (circa 1970s). With David Messum, Beaconsfield (according to label verso). Private Collection, UK. Literature: P. Cannon-Brooks, 'A Modello by Antonio Bellucci for Canons', The Burlington Magazine, CXVII, 1975, pp. 238-9 (as Antonio Bellucci). E.Young, 'Another Sketch by Antonio Bellucci for Canons', The Burlington Magazine, CXVII, 1975, pp. 240-2 (as Antonio Bellucci). F. Magani, 'Antonio Bellucci: Catalogo Ragionato', 1995, pp.203, R34 (as erroneously attributed to Antonio Bellucci). Note: Sebastiano Ricci was born in Belluno, but spent most of his career in Venice, and it is with the artistic climate of that city that he is most closely associated. A highly influential and successful artist, Ricci's dynamic and ambitious 'grand manner' style, which is often considered to bridge the gap between the Baroque and Rococo, gained him many international commissions, and the artist travelled widely, including to Britain. The present composition likely dates from the period Sebastiano Ricci spent here. Ricci arrived in London the winter of 1711, before returning to Venice in 1716. During the short time Ricci spent in England he was in high demand with royal and noble patrons, including Lord Burlington (1694-1753), for whom Ricci painted a cycle of wall paintings that still adorn Burlington House (now the Royal Academy) today, as well as King George III (1738-1820), who purchased many works from Ricci that are still held in the Royal Collection. Another influential patron who commissioned Ricci to complete an extensive decorative scheme was the Duke of Portland (1682-1726), who employed the Venetian artist to paint a cycle of religious scenes for the interior of his now-lost chapel at Bulstrode House, Buckinghamshire. The Bulstrode Chapel is known to have been adorned with scenes from the Life of Christ by Ricci, including the Last Supper and the Baptism of Christ, as well as, on the ceiling, a scene of Christ's Ascension. The work presented here, which is executed on a similar scale and with a comparable architectural surround to Ricci's surviving sketches relating to the Duke of Portland's chapel (including The Baptism of Christ, now in the collection of the Metropolitan Museum of Art, 1981.186, and the Last Supper, National Gallery of Art, 1943.4.32), could possibly be a preparatory oil sketch, or modello, for that now-lost work. Another oil sketch attributed to Ricci also depicting the Ascension of Christ is held in the collection of the Shipley Art Gallery in Gateshead, Tyne and Wear [TWCMS : C153]. That example is likely a version of the present composition in earlier stages of development. There are various small differences between the two sketches: the Shipley sketch shows the figure of Christ fully draped, has a slightly different distribution of supporting figures, and lacks the elaborate architectural surround that the present picture has in common with Ricci's surviving, more finished Bulstrode sketches at the Metropolitan Museum and National Gallery of Art. The variations between the two Ascension sketches may indicate that the artist was still experimenting with the composition. Both the Shipley oil sketch and the present work were previously attributed to Antonio Bellucci (1654-1726), a Venetian, like Ricci, who found success with British patrons when he arrived in this country in the 1710s. When Eric Young published the present sketch and the Shipley example in the 1970s, he connected them both to Bellucci's quatrefoil ceiling painting of the Ascension for the Duke of Chandos' chapel at Cannons (now located in the central nave at the Church of Saint Michael and All Angels at Great Whitley, Worcestershire). The attribution of the present work to Bellucci was later disputed by Fabrizio Magani in his catalogue of Bellucci's paintings. In his catalogue entry for the painting presented here, Magani points out the overall similarities between this work and the Shipley sketch, which he notes is definitively attributable to Ricci. The present, poignant scene shows the figure of Christ bare-chested, highlighting the greenish pale hue of his skin, which may be a reference to Christ's death and Resurrection. The partially draped figure of Christ recalls the central figure in the oil study now held in the collection of the Dulwich Picture Gallery [DPG195], which depicts Christ's Resurrection, and which was also painted during the period Ricci spent in Britain. That study relates to the fresco in the apse of the chapel at the Royal Hospital, Chelsea.
James Baker Pyne, RBA, British 1800-1870- Beach scene with fisherfolk around a jetty; oil on canvas, signed and dated 'JB PYNE 34' (lower left), 86.5 x 133 cm. Provenance: Private Collection, UK. Note: In his early years, Pyne was a member of the Bristol School of artists and a close follower of Francis Danby (1793-1861). From 1835 onwards, he travelled extensively on the Continent and in Italy, gathering material to work up into finished pictures. The present view is one which Pyne depicted on various occasions, with a different version of the same scene, produced on a much smaller scale, held in the collection of Touchstones, Rochdale [717], where it is entitled 'Norwegian Scene'.
Circle of Jean-Léon Gérôme, French 1824-1904- Portrait of a bearded man in costume, wearing a cap; oil on board, 49.5 x 40.8 cm. Provenance: Private Collection, UK. Note: The present enigmatic bearded man, in somewhat ambiguous historical costume, recalls some of the figures which populate Gérôme's large-scale, theatrical compositions, generally depicting scenes from a wide range of historical settings. Indeed, the present work recalls a number of head studies by Gérôme, including a similar figure of an old man which sold at Lombrail-Teucquam, Drouot- Richelieu, on 29 November 2000, as lot 63.
Roman School, early 17th century- Salvator Mundi; oil on copper, 45.8 x 36.6 cm. Provenance: Private Collection, UK. Note: This arresting portrayal of Christ as Salvator Mundi, dramatically lit from one side so the subject's face is cast in atmospheric relief, shows the unmistakable influence of Caravaggio (1571-1610) and his circle of artists working in Rome at the beginning of the 17th century. The smooth, highly polished rendering of the skin is particularly reminiscent of the works of Caravaggio's pupil Bartolomeo Manfredi (1582-1622), including 'Cupid Chastised', held in the collection of the Art Institute of Chicago [1947.58]. The present work's intimate scale suggest it may have once hung in a private house or chapel.
Thomas Miles Richardson, Jnr. RWS, British 1813-1890- Lake Nemi, Kingdom of Naples; watercolour heightened with white on paper, signed and dated 'TM Richardson / 1881' (lower right), bears artist's label inscribed 'No. 1 / "Lake Nemi." / Kingdom of Naples. / TM Richardson / London 1881' attached to the backing board, 40 x 74.8 cm. Provenance: The collection of Col. Sir William Thomlinson. Anon. sale, Christie's, 17 September 1943, lot number untraced. Anon. sale, Christie's, London, 14 June 1966, lot 170. The collection of the Late Lord Westwood, acquired Christmas 1967. Thence by descent. Private Collection, UK. Note: Richardson Junior was known for his idyllic, expansive views of European lakes and mountains, often featuring figures in regional dress whose diminutive size emphasises the immense scale of the landscapes around them, as evident in the present work. This scene also exhibits the light colour palette of blues and oranges which Richardson favoured, and which imparts his watercolours with a sense of radiance and warmth.
Unusual Possibly South American Navy Officer's Sword 32 1/4 inch, double edged sword with narrow central fuller. Etched floral scrolls, stand of arms and crest. Gilt brass guard with crowned anchor cartouche and scale decoration within the false bars. Rear folding panel. Gilt brass, lion mask pommel and backstrap with crown top nut. Shagreen grip. Steel blade with dark patina. Folding hinge slightly loose.
Assorted Franklin Mint die-cast model cars to include: 1:16 scale 1913 Model T with certificate, packaged without original box; 1:24 scale 1935 Auburn 851 Speedster; 1:24 Rolls-Royce 1925 Silver Ghost packaged with certificate; 1:24 1933 Duesenberg J Victoria, packaged without certificate, with tag and a 1:24 Duesenberg J 3350 Convertible with Certificate and tag, packaged (5)
Kevin T Kelly - American Contemporary Artist B.1960 A Limited Edition Large scale Pop art Poster. "War Bonds" Issued by Rosenstiels London 97/100 with Certificate that is numbered to match the print carrying the embossed stamp signed by the artist. Kelly’s work is decidedly “Neo-Pop” or “Post-Pop”. Infused with a postmodern sensibility, contemporaneous subject matter, and executed in what the artist refers to as a “hyper-chromatic” palette. War bonds are debt securities issued by governments to finance military operations in times of war, but this title suggests the bonds that are made between people during wartime. In many of his images depicting fighter aireraft the background acts as a metaphor to amplify the imagery in the foreground. The fireball could suggest either flirtatious attraction or detection of betrayal between the couple. Has the P-51 Mustang pilot just destroyed his target or is he narrowly making an escape? Is the man in the foreground the pilot? Is the woman? Or are they sipping champagne at a gala completely unaware their country is at war in a far-off land? Approx Size 152cm x 78cm (there may be minor creasing and/or small tear to outside edge border though general handling) P
Eastern metal ewer, baluster form with fish scale decoration, height 18.5cm (Please note condition does not form part of the catalogue description. We strongly advise viewing to satsify yourself as to condition. If you are unable to view and a condition report is not already available, please ask for one and it will be provided in writing).
A boardroom model of M/T Millennium 301,000 DWT Class Crude Carrier, built in September 1998 by Hyundai Heavy Industries, Ulsan Shipyard Korea, 1/200 scale standing on two brass pillars, contained in a high quality chrome display case, depth 47 cm, width 187 cm, height 54 cm, standing on bespoke pillars each capped with a four-point chrome anchor, overall height 145 cm.
Pair of silver coasters, M C Hersey & Son, London 2005, turned walnut bases, 12cm, one similar and a silver postal scale.Qty: 4Condition report:Minor discolouration to the wood on all three coasters. Staining to baize on base of small coaster. Scratches to top of postal scales, plus minor damage to back corners of base and discolouration and loss of text to scale. Please see additional uploaded images.
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