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Lot 454
A boxed Corgi CC99188 'Stan Robinson' 1:50 scale truck set, together with 75407 Leyland DAF, 16502 Scammell 'Pat Collins' and a 97824 Birmingham Daimler Fleetline Bus, Models appear generally G/G+, some with mirrors attached, in boxes ranging from F to G. Three unboxed 1:50 scale trailers are also included in this lot. (7)
Lot 414
A good quantity of boxed 1:76 scale cars, vans and commercial vehicles by Oxford and Hornby including an Oxford Scammell Mechanical Horse in LNER livery and a Flight's Tours Plaxton Panorama Coach. Also included in this lot are a further 41 boxed Lledo and Trackside models. Overall models appear G/G+ in generally G/G+ boxes. (98)
Lot 1001
MARSHALL & SONS, EDINBURGH; an early 19th century rosewood thirty hour bracket clock with inlaid brass decoration, stepped top with pine cone finial above the silvered dial set with Roman numerals and inscribed with makers' name, decorative handles either side above fish scale side sound openings, to ball feet, height 49cm. CONDITION REPORT: Piece of the side moulding loose but present, clearly been restore, brass has been replaced, is loose or is missing, and some veneers have been replaced. Please see further images.
Lot 1507
Atlas Ltd Edition 1.87 Small Scale Model Trams, Complete with Boxes and Brochures ( 7 ) In Total. Comprises 1. 6th Generation ( HKT-1986) 2. A2.2 ( Rathgeber ) -1901. 3. T.W.4 Herbrand / A.E.G. 1894. 4. Tramvia Blau. Serie 5-10. Estrada-Tmb 1903. 5. Cable Car ( Ferries and Cliff ) - 1888. 6. Remodelados 541-551 ( Carris ) -1928-9. 7. Railcoach ( Brush ) -1937. All Models and Boxes are In Nr Mint Condition.
Lot 1508
Atlas Ltd Edition 1.87 Small Scale Model Trams, Complete with Boxes and Brochures. Old Trams Collection ( 6 ) In Total. 1. Motrice Type 500 ( CGPT ) -1907. 2. CI.NR.141 ( Simmering - GRAZ-Parker ) 3. Feltham Tram ( UCC) 1931. 4 G3/3 SLM -1894. 5/ TE59. Reko-Wagen 217055 ( Raw ) 1961. 6. Geta ( Beijnes ) Harlem -1929. All Models and Boxes are In Near Mint Condition.
Lot 118F
Pre-Columbian, West Mexico, Colima, ca. 300 BCE to 300 CE. A huge and gorgeous mottled red-brown and black stone spear point created from a gorgeous chunk of mahogany obsidian (volcanic glass with iron inclusions). The piece is well-crafted, symmetrically knapped to points at both ends, obviously intended to be an impressive object of prestige given its large scale and rare source of stone. Quite unusual, not only for its size, but also because we do not ofen see obsidian blades created by the Colima. Custom stand. Size: 1.9" W x 12.25" H (4.8 cm x 31.1 cm)Obsidian - "iztli" to the indigenous - fascinated the ancient Mesoamericans; the Aztecs even had a god, Tezcatlipoca, who was the Lord of the Smoking Obsidian Mirror. The shockingly sharp edges and points of this piece demonstrate its great allure. In a world without metal, this sharp quality was especially important for ceremonies of ritual bloodletting and human sacrifice. The difficult-to-obtain material came from volcanic sources in the Sierra Madre of Mexico and in Guatemala, was traded across hundreds of miles to meet the demand for sharp cutting tools and ritual objects, and was struck using a deer antler or small hammer stone to form blades and other shapes. The Colima buried their dead in shaft tombs deep below their residences, alongside the remains of their ancestors. These tombs were richly furnished with ceramic figures, vessels, offerings, and precious stone items of jade and obsidian. Provenance: Ex-Sevilla Collection, Pomona, CA Condition: Slight wear to edges and some white mineral deposits on surface. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119694
Lot 18
Ancient Greece, Hellenistic, ca. 323 to 31 CE. A mold-pressed terracotta roundel depicting the bust of a classical deity in relief, possibly Athena (Minerva), the goddess of war and wisdom surrounded by a pectoral of scale armor; however, also possibly representing the visage of the beautiful young male Apollo, god of music, poetry, art, sun, light, and knowledge surrounded by a wreath of radiating laurel leaves arranged like the glorious rays of the sun. What a beauty! Custom stand. Size: 7.25" in diameter (18.4 cm); 8.5" H (21.6 cm) on stand Provenance: Ex- Private Orange County, CA collection Condition: Twin perforations at top for former suspension, possibly for use as a phalera (ornament for a horse's headstall). Normal surface wear with some roughness to peripheries commensurate with age. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118882
Lot 222
North America, Northeast Woodlands, probably Iroquois, ca. late 19th century CE. A small Native American canoe from a Northeast Woodlands tribe, most likely Iroquois, with a bark cover, probably elm, folded to create the bottom and sides of the vessel, sewn together with cedar or tamarack roots, lined with a very thin wood sheathing, the"long-nose" variety, evidenced by the pronounced recurve of the form. Given its small scale, this example was most likely intended to be a model or toy. Size: 31" L x 8" W x 10" H (78.7 cm x 20.3 cm x 25.4 cm)Elm bark was the preferred material of eastern woodland Native American tribes for constructing shelters as well as canoes. Elm bark could be peeled off in large sheets and modeled quite easily. This said, it could not withstand the pressures of rough water; so the Iroquois considered them to be relatively disposable and used them in situations when the vessel's longevity was not a primary concern. It could be abandoned early on during a journey, and a new one could be built rather quickly when needed. Provenance: Ex-Private LA County collection Condition: Inner rim shows some separation, as a length of root threads is missing. Minor expected wear to bark, but overall very good. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119073
Lot 16
Magna Graecia, Southern Italy, Apulia, Virginia Exhibition Painter, ca. 330 to 300 BCE. A masterful Apulian red-figure amphora attributed to A.D. Trendall’s Virginia Exhibition Painter, the vase of a grand scale, presenting an elegant, sinuous form with intriguing iconography (see extended description below) and extensive decoration, all finely delineated in red-figure technique with additional fugitive white, yellow, and beige pigments. An exceptional and important work displaying superb artistry and technique. Size: 14.75" in diameter x 39" H (37.5 cm x 99.1 cm)Virtually no ancient Greek paintings have survived the tests of time. This makes the painted compositions found on ceramic vessels like this example invaluable sources of information about ancient Greek visual art. Refined vases like this amphora were not merely utilitarian pottery, but rather works of art in their own right, highly prized throughout the classical world. Red figure pieces in particular allowed for the development of more naturalistic imagery than black figure examples. This innovative technique involved creating figures by outlining them in the natural red of the vase, making it possible for the painter to then enrich the figural forms with black lines to suggest volume, perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail.Side A of this amphora features a pair of warriors sheltered by an ionic naiskos, one on horseback wielding a spear, his horse's right front leg lifted to mirror his own attack gesture targeted at his opponent who counters with his weapon and shield. Above this dramatic depiction of the pair of rivals, on the shoulder of the vase, is a female bust emerging from a blossom, a signature of the Virginia Exhibition Painter as well as the elite White Sakkos Painter. The Virginia Exhibition Painter also included floral elements beneath the warriors as well as a pair of plume-like elements beside the rider's torso, perhaps elements of his helmet and/or armor. This compares to another Apulian artist's (the Ganymede Painter's) penchant for adding iconography beyond the figures under the naiskos. On the obverse is a pair of draped standing youths facing one another, perhaps mourners of whomever did not survive the rivalry depicted on Side A, one leaning upon a staff or walking stick, with a distinct maker's mark between their heads. In addition to the figural imagery are the extensive decorative elements which are quite characteristic of the Virginia Exhibition Painter's known oeuvre. Note the ivy leaf motif beneath the rim created via fugitive white and creamy beige pigments, the black fan palmettes and white vertical rays on the neck painted just above the female bust who emerges from a blooming, foliated blossom with elaborate spiraled tendrils on the shoulder, this underscored by a tongue pattern, all in red-figure with fugitive white and yellow. Adorning the central naiskos scene are ivy leaf vines flanking the ionic columns as well as registers of dotted, scrolled, linear, and wave motifs below the scenes and continuing around the circumference of the vessel. Finally, beneath the elegant twin handles are large, double, red-figure palmettes.A remarkable vase of the so-called Ornate Style by the Virginia Exhibition Painter of a grand scale, decorated in an elaborate manner with intriguing scenes and figures as well as a great deal of subsidiary ornament in added colors. For a comparable example at Royal Athena Galleries listed at $125,000, follow this link: http://www.masterart.com/Greek-the-Virginia-Exhibition-Painter-330-300-Apulian-large-red-figured-amphora-the-Virginia-Exhibition-Painter-PortalDefault.aspx?tabid=53&dealerID=361&objectID=502940Trendall named this artist the Virginia Exhibition Painter, because five of his vases which came from the same tomb were first featured in an exhibition of South Italic vases at the Virginia Museum of Fine Arts in 1982, and a few were published in the accompanying catalogue - M. E. Mayo and K. Hamma, "The Art of South Italy: Vases from Magna Graecia" (Richmond 1982). Cf. especially the naiskos scene on p. 179. No. 73, and the woman on the shoulder of no. 76 (p. 185), the latter also a neck-amphora. Provenance: Ex-Royal Athena Gallery, NYC, NY. Condition: Handles reattached. Drilled hole beneath one handle for thermoluminescence testing. Surface wear with expected scratches, pigment losses, and mineral deposits commensurate with age. Small chip on right column of naiskos. Painting still quite vivid and impressive. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118744
Lot 116
Pre-Columbian, Central Mexico, Guerrero region, ca. 300 to 100 BCE. A Chontal maskette expertly carved from a grey stone with green undertones and mottled beige inclusions. The mask presents an angular form and a flat back, its visage with features in relief including coffee bean shaped eyes, rounded cheek bones, prominent brows, a long aquiline nose, puckered lips, and narrow ear phalanges pierced at the lobes with additional perforations behind temples. Custom block mount. Size: 4" W x 5.5" H (10.2 cm x 14 cm); 4.5" W x 7.5" H (11.4 cm x 19 cm) with mountThe Guerrero region of modern-day southwestern Mexico was the center of the Mezcala and Chontal stone carving traditions. While Mezcala artists are known for their abstract, geometric style, the Chontal sculptors imbued their artworks with more naturalism. Although their stonework stems from the Preclassic period, ca. 300 to 100 BCE, later Mesoamerican peoples clearly cherished Chontal portable sculptures as heirlooms. Chontal creations have been unearthed in ritual caches at Templo Mayor, the principle temple of the fifteenth-century Aztecs of Tenochititlan (Mexico City). What's more, legendary 20th century modernists such as Diego Rivera, Frida Kahlo, and Miguel Covarrubias appreciated the minimalist qualities of Chontal art. Covarrubias went so far as to compare it to the Cycladic style of ancient Greece. Scholars believe that such masks were tied to funerary bundles of the noble elite; however, the smaller scale suggests it may have been attached to clothing. Note the four perforations at the peripheries for such attachment. Provenance: Ex-Dr. G. Hermann collection, Denver, CO acquired before 1980 Condition: On verso are linear depressions most likely inherent to the original stone. Chip to upper edge on back side. Old abrasions beneath it. Otherwise excellent. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118960
Lot 79
***Back at auction due to Non-Paying Bidder***East Asia,China, Neolithic Period, Liangzhu Culture, 3400 to 2250 BCE. A Chinese carved jade bi-disc, colossal in scale and of a substantive girth and thickness, presenting a mesmerizing array of verdant green, golden yellow, chestnut brown, and buff white hues in the jade. Size: 17.75" W (45.1 cm)This bi disc is characteristically round with a central aperture drilled through both sides which retains a cutting ridge on the interior wall, and presents an overall smooth finish. The fact that it is not decorated, confirms that it is from the Neolithic period; later examples such as those of the Zhou dynasties were carved with relief sculptures representing celestial deities. Bi discs were traditionally used by Shamans, the spiritual leaders and transmitters of cosmological knowledge of the Liangzhu society. Their circular form has prompted scholars to link bi discs to symbolism associated with earth and heaven. This said, no written accounts were left by Neolithic civilization. We do know, however, that bi discs were buried with the deceased as a celestial symbol that would accompany him/her to the afterlife. Beyond this, jade objects, throughout history, have signified the elite status and social rank of an individual.A similar example, though less than half this diameter, sold for $40,000 at Christie's, New York, Lot 1449, Sale 2726, 19-20 September 2013. Follow this link for the listing: http://www.christies.com/lotfinder/lot/a-large-mottled-dark-green-jade-bi-5719765-details.aspx Provenance: Ex-Private Maricopa County, AZ collection Condition: Minor losses to peripheries. Rough cutting edge on interior wall of central aperture. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118396
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186094 item(s)/page