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Click here to subscribeThree large scale racing boats, Luciano Piazzai fine resin 1/35 scale model of Annabella Offshore Catamaran Racing Boat, F-G, some crazing to paintwork around cockpit and lacks windscreens, Replicast Record Models, Sir Henry Seagrave's 'Miss England' and John Cobb's 'Crusader K6', all presented on wooden plinths, both VG (3)
Ever Ready Tri-ang and other plastic Toys, Ever Ready battery operated Motor Car Type T G 3, in original box, Ideal large scale Jaguar XK120, Timpo push and go car with Aluminium base and Sand Lorry, Tri-ang Saloon Car, Ladybird and smaller car, Brimtoy plastic Morris Minor (lacks rear wheels), together with a small quantity of keys, P-F, all in played with condition, box F (8 + keys)
Various Diecast Vehicles and Tower Bridge, Matchbox 1:75 No 34 VW Van, No 40 Bedford 7-Ton Tipper, both in original boxes, Crescent Police Car and Streamline Locomotive, Ebee Tower Bridge, Condon Tractor unit and three Tipping Trucks, Timpo Racing Cars and low loader, Robin Hood Artic Lorry front, Moko large scale Road Roller (damaged) and unmarked Jeep, F-G, boxes P-F, most in played with condition (16)
SIR ALFRED GILBERT R.A. (1854-1934)COMEDY AND TRAGEDY: ‘SIC VITA’bronze, raised on a stepped ebonised wood plinth34cm high (bronze), 39cm high (with plinth)Provenance: The Fine Art Society, LondonNote: New English Sculpture was a dynamic movement at the end of the 19th century which injected energy and naturalism into English sculpture. The medium had been dominated by a neo-classical style seen as rigid and irrelevant to human experience, so much so that Baudelaire even wrote a critique of the Paris Salon in 1846 titled ‘Why Sculpture is Boring’. The term ‘New English Sculpture’ was coined in Edmund Gosse’s article ‘The New Sculpture’ which was published by Art Journal in 1894, where he defined the movement as ‘a close and reverent observation of nature’. Leading sculptors such as Lord Leighton, Alfred Gilbert and Hamo Thornycroft revived the Italian Renaissance art of ‘lost wax’ bronze casting in order to finely render surface details like musculature and facial expressions in a more naturalistic manner. This approach was introduced by Aimé-Jules Dalou, who disseminated the French method of direct modelling during the period he spent teaching at South Kensington School of Art from 1877 to 1880. This combination of traditional and modern continental influences prompted these artists to recast well-worn classical myths in a distinctly original and relatable style. The movement re-established the relevance of sculpture within society by embracing the statuette, which bridged the divide between high art and decorative art without compromising on the standard of craftsmanship. Until the 1860s sculpture was primarily limited to the marble portrait bust or large classical figure, but these smaller bronze casts created a new sculptural category which suited the scale and price desired by homeowners. The cult of the statuette was a popular feature in late Victorian and Edwardian architectural design and enabled the classical heroic figure to fulfil a new decorative role within a domestic setting.
[§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)ADOLESCENCEEtching, signed39cm x 28cm (15.25in x 11in)Provenance: Elizabeth Harvey-Lee, OxfordshireLiterature: Guichard, Kenneth M., 'British Etchers: 1850-1940,' Robin Garton 1981, pl. 11, pp. 29-30.Note: From an edition of 91 and believed to be the 5th and final state.Note: Gerald Leslie Brockhurst's print masterpiece Adolescence is the focal point of the Kirkton House collection of etchings. As the artist's most celebrated work within the medium and one of the greatest prints of the 20th century, it is a perfect centrepiece to a carefully considered collection of British etchings.Throughout his career, Brockhurst was particularly concerned with the evocation of feminine beauty. A precocious drawing talent, he commenced training at the Birmingham School of Art aged twelve, before going on to secure a scholarship to the Royal Academy Schools. He became one of the most successful and sought after portrait painters in London, but always maintained his fundamental skill as a draughtsman. When it became clear that the market for contemporary etching was growing, Brockhurst translated his drawing skills into the technique of etching, mastering the medium and publishing his first set of prints in 1920. The wider fashion in etchings at this time was for landscapes and cityscapes, but Brockhurst pursued the same subjects as his paintings, producing exceptionally detailed portraits and figures studies that became extremely popular. He drew on a wide range of visual influences that celebrated female beauty, from contemporary glamour portraits and fashion photography to Italian Renaissance paintings, to develop his own distinct style.In his ongoing exploration of female beauty and the theme of young womanhood, Brockhurst utilised each of his two wives as regular models. His first wife, Anais appears in etchings he created throughout the 1920s, patiently posing as a range of different characters as well as herself, however, the marriage itself came under strain after she learnt of his infidelity with her sister, Marguerite. Brockhurst then met and fell in love with Kathleen Nancy Woodward, whom he re-named Dorette, following his established penchant for gifting his female portraits and sitters with exotic names, a teenage model at the Royal Academy. She became his regular model and muse, and is the figure depicted in Adolescence. Following his divorce from Anais, they married and moved to the United States, amidst an unsurprising whirlwind of scandal.Adolescence is a charged work, as well as technical masterpiece. Brockhurst's mastery of the etching technique to render a range of surface textures and tones, particularly skin, is profound. This is the largest scale Brockhurst worked on in etching, yet the details are minute, and the process painstaking. His etchings have sometimes been mistaken for aquatints as he manages to create such tonal variety and soft edges, yet each work is etched, line by line, dot by dot. The subject is not so straightforward; the teenaged Dorette sits naked, contemplating herself in front of the mirror. It can be viewed as a psychological portrait as well as a physical one, exploring the complex and contradictory emotions and anxieties brought on by the process of adolescence, a conflict we can see across Dorette's expression, and in her uncertain gaze. This is a vulnerable moment where she is open with her anxieties and lack of certainty and confidence, rather than attempting to mask them. She is almost an adult, and is desired as one by the artist, yet there is still a great deal of youth and vulnerability to her, and it is this blurred boundary that so compelled the artist and continues to make this an enticing, elusive image.Adolesence is widely considered a masterpiece of the etching medium, a tour de force of the skills required to work effectively in the genre, with a subject that is compelling and complicated in its surprising emotional depth. It is easy to see why it remains so revered, and not a little scandalous.
Minichamps 1:43 Scale 1970S/80S F1 Models, A cased collection of Tyrells, comprising limited edition, 770004 Depailler, 830004 Sullivan, 770003 Peterson, 840104/840004 Bellof, together with 760003 J Scheckter, 710011/730005 Stewart, 730006/710009 Cevert, 760004/770104 Depailler and 840003 M Brundle, VG-E, Cases F-G, (13)
Hong Kong Plastic Vehicles, A Lucky Toys, pocket size motorized car, two replicar series Zephyr convertibles (both with bumper repairs and minus luggage), Friction Car, HK Morris, New London Taxi, Scale Model Cars Rover 2000 and Packing Case Series Maserati 200SI, all in original boxes, G-E, Boxes F-G, (8)
[Biblical text] Gill, Eric (illustrator). The Song of Songs, called by Many the Canticle of Canticles, The Golden Cockerel Press 1925, 4to first edition hard back, cream buckram cloth with gilt lettering to spine, numbered 348 of an edition of 750 printed, containing twenty woodcuts ranging from full-scale nudes to emblematic devices/see illustration Condition Report: No dust jacket, slightly grubby covers. Red pen annotation to corner of inner front cover. Pencil annotations to flyleaf. Slight browning/yellowing to some pages, particularly edges. Generally fair condition.
Spencer Browning and Co, London, a 19th century mahogany marine barometer: the bone dials aslant having typical barometer markings with a vernier scale set from below and signed within the arch by the maker Spencer Browing & Co, London, the mahogany curved top case having a brass cistern to the base and brass bound holes for fixing to a gymbal, height 94cms.* Notes Spencer, Browning & Co are recorded as working at 327, Wapping, London in circa 1783 and then 66, Wapping from circa 1801 until at least 1838. Also known as Spencer & Co, and Spencer, Browing & Rust.
A Spanish brass and wooden gold balance scale on a box base with single drawer and near-complete wooden cased set of 2g-20g weights (ex-Barcelona branch of Lloyds Bank); together with a brass Sovereign scale; a brass and beech wood letter scale; and a brass beam scale by Doyle & Sons, London. (4)
Hong Kong Small Scale Plastic Cars, Large collection of Matchbox and other makers copies, most approx 00/HO Gauge, American, British and European outline, variety makes and colours including E-Types (6), XK140 ? (3), Saloons (4) and D-Type, Morris 1100 (2), VW Beetle (2), Goray Mite Emergency vehicles (5) Boats (5) and many others generally G-VG (85)
Hong Kong Small Scale Plastic Commercials, Large collection of Matchbox and other makers copies, most approx 00/HO Gauge, mainly British outline including Car Transporter ( Norev copy? ) and five cars, Car transporter with two cars, Express artic Lorry (Cooper Jarrett copy), Gordy Tanker, Greyhound and other Buses, Cement Lorries, Tipper Lorries, Diggers and Bulldozers, Dumpers, Vans, Tractors, Breakdown trucks and others, generally G-VG (60)
Hong Kong small scale plastic Vehicles in original packaging, including Blue Box 7402 Auto Series 4 cars, 7423 Dump Truck, 7427 Open Truck and one spare empty box, 7424 Breakdown Lorry box only, International Model Products commercials (4), Matchbox copy boxes (3, one empty), Mobile Shop and Car, both in original card header bags, Marx Matchbox style box Tractor, Jeep and Wrecker Truck, orange and blue empty boxes (5), TLC box, Marx Miniature Cars MG and TR2 and ELM Tiny Toy Vehicles (3), generally E, packaging/boxes F-VG (29)
Hong Kong small scale plastic Vehicles in original boxes, Miniature Vehicle series in green, brown and red boxes, including A, Tractors (6), B, Digger with shovel (7 + one spare empty box), C, Dumper Tipper Lorry (5), D Breakdown Truck, E, Dumper Truck (3) and F, Tipper Lorry, all in original boxes, E, boxes VG-E (31)
Hong Kong and Japanese small scale die-cast copies of Matchbox and other models, Marx Elegant Miniatures Tractor, Japanese Ford Station Wagon, AHI Brand Toys Construction Tractor, Bus and Tanker, all in original boxes, unboxed Ambulance, Tanker, Fire Engine, Dumper Truck, MG Sports Car, Tractors (2) Bulldozer with shovel and one without, Trailer and Road Roller, generally VG, boxes G-VG (16)
Mark Hong Kong production metal small scale cars and commercials, Mini-Marx Transport Set comprising five vehicles, loading ramp and hopper, in original card backed bubble pack, loose cars including VW Beetle (6), Lola , Ford GT (2), Uno Ferrari (3), Jaguar E-Type (5), Ford J (5), Jeep, (2), Camaro and Cadillac, VG-E, pack VG (27)
Hong Kong large scale plastic Buses and other models, Salco (Blue Box on base and adverts) Double Deck Bus in original box with spare empty box, unboxed friction drive NFIC London bus with Regent adverts and Mercedes single deck coach, Lucky Toys 196 Fire Truck, Clifford Toys 18-160 Land-Sea Car-Ferry in blue white red and yellow with four cars, in original box, VG-E, boxes G-VG (6)
Large quantity of small scale European and US Cars Vans and Buses by various makers, including Anguplas Mini Austin Seven , in original boxes(2) and others unboxed, Estetyka Porsche 910, in original box Lindberg Line Mustangs, VW Minibuses and Beetle, Dump Truck, Siku VW Vans, Isetta and others, Wiking VW Vans and Minibuses, Racing Cars and other vehicles, SAM Toys Italy, Norev Citroën DS 19 and various other vehicles, generally VG, boxes F-G (65+)
Lone Star 1:50 Scale Roadmasters, 1476 Rolls Royce, in original window box, Chevrolet Corvair Fire Chief, in original plastic box with card base, seven unboxed models, Dodge Dart (2, one with damaged rear bumper), Citroën DS 19, Cadillac 62 Sedan, Chevrolet Corsair red 'Feuerwehr' and orange (lacks interior), Ford Sunliner Convertible (windscreen damaged), P-E, boxes G-VG (9)
Four pairs of 20th century Japanese cloisonne enamel vases, all of baluster form, comprising a black cloud ground long-necked pair decorated with peonies and prunus, boxed, with hardwood stands, a white cloud ground pair decorated with mixed flowers and foliage, a similarly-decorated red scale ground pair (one with dent to side) and a scale and lappet-decorated long-necked black ground pair, with hardwood stands, H 19cm (tallest)
JEAN-CLAUDE FARHI (FRENCH 1940Ð2012)Grande colonne verte, perspexheight: 204 cm (80 1/4 in); diameter: 15.5 cm (6 1/8 in.) LOT NOTESJean-Claude Farhi, best known for his transluscent, large-scale columnar plexiglass sculptures, is considered one of the foremost figures of the influential Ecole de Nice group of the late 1950s-1960s, among Arman, Yves Klein and teacher and longtime collaborator Csar Baldaccini. His journey with plastic began in the mid-1970s, when he started using it for pedestals for his metal sculptures. Quickly seeing potential in the material's interaction with color and space, he dispensed with metal altogether. Shortly thereafter, the sculptor striked commissions from Gunter Sachs and Elie de Rothschild (a list now joined by Bill Gates), reveling in the transluscence and playfulness the plastic allowed him to produce. While "most sculptors work on the exterior of the sculpture," Farhi has said, he "started to think of putting everything on the inside," entrapping colors within. Both acrylic glass columns presented in this auction offer a dazzling display of Farhi's vision: dynamic, monumental, and luminous, they restore plastic to its futuristic origins.
JEAN-CLAUDE FARHI (FRENCH 1940Ð2012)_olonne violette, perspexheight: 129.5 cm (51 in.); diameter: 22.3 cm (8 3/4 in.) LOT NOTESJean-Claude Farhi, best known for his transluscent, large-scale columnar plexiglass sculptures, is considered one of the foremost figures of the influential Ecole de Nice group of the late 1950s-1960s, among Arman, Yves Klein and teacher and longtime collaborator Csar Baldaccini. His journey with plastic began in the mid-1970s, when he started using it for pedestals for his metal sculptures. Quickly seeing potential in the material's interaction with color and space, he dispensed with metal altogether. Shortly thereafter, the sculptor striked commissions from Gunter Sachs and Elie de Rothschild (a list now joined by Bill Gates), reveling in the transluscence and playfulness the plastic allowed him to produce. While "most sculptors work on the exterior of the sculpture," Farhi has said, he "started to think of putting everything on the inside," entrapping colors within. Both acrylic glass columns presented in this auction offer a dazzling display of Farhi's vision: dynamic, monumental, and luminous, they restore plastic to its futuristic origins.
MICHEL FRERE (BELGIAN 1961-1999) Untitled , 1996 oil on canvas 106 x 177 cm (41 3/4 x 69 3/4 in.) initialed and dated on verso PROVENANCE Collection of Richard Milazzo (label on stretcher) Sidney Janis Gallery, New York (label on stretcher)LOT NOTESMichel Frere was a Belgian abstract expressionist artist related to Informalist European postwar movements and groups, such as CoBrA, tachisme, and materialisme. Frere, with his rambunctious, large-scale canvases, viewed his work as a development of the ideas of artists such as Gustave Courbet (whom he loved for his landscapes), James Ensor and Eugène Leroy. Like other “materialist” artists - a term coined by art critic Michel Tapies to describe a certain kind of outsider art, or art brut, as it is known in Europe - including Jean Debuffet, Antoni Tapies and Lucio Fontana, Frere paid a great amount of attention to the surface qualities and presence of his works, often with the inclusion of unconventional painting materials. This piece, created in 1996, embodies both the artist’s love of landscape and his insistence upon a kind of literal substantiality. The pastose, weighty convergence of aubergine-browns, light greens, ochres, and a touch of cerulean, pays homage to the painterly outdoor scenes of the Barbizon school, and produces some of his most recognizable work.The following painting comes from the collection of art critic, publisher, poet and curator Richard Milazzo, author of a catalogue on Michel Frere and curator of several shows Sidney Janis Gallery, one of the most prominent platforms for avant-garde art in postwar New York. The Gallery, opened in 1948 and founded by eponymous art collector and entrepreneur Sidney Janis along with wife Harriet Janis, represented the likes of Lichtenstein, Warhol, Rosenquist and Oldenburg, and held exhibitions of Fauvist, Dada, Surrealist and De Stijl artists: Matisse, Mondrian, Giacometti, Arp, Leger. The Sidney Janis Gallery is perhaps best known for furthering the now-illustrious Abstract Expressionists, such as de Kooning and Pollock, and subsequently, the Pop Artists (the aforementioned Lichtenstein and Warhol) in its influential 1962 exhibition titled The New Realists."}" data-sheets-userformat="{"2":513,"3":{"1":0},"12":0}">LOT NOTES Michel Frere was a Belgian abstract expressionist artist related to Informalist European postwar movements and groups, such as CoBrA, tachisme, and materialisme. Frere, with his rambunctious, large-scale canvases, viewed his work as a development of the ideas of artists such as Gustave Courbet (whom he loved for his landscapes), James Ensor and Eugène Leroy. Like other “materialist” artists - a term coined by art critic Michel Tapies to describe a certain kind of outsider art, or art brut, as it is known in Europe - including Jean Debuffet, Antoni Tapies and Lucio Fontana, Frere paid a great amount of attention to the surface qualities and presence of his works, often with the inclusion of unconventional painting materials. This piece, created in 1996, embodies both the artist’s love of landscape and his insistence upon a kind of literal substantiality. The pastose, weighty convergence of aubergine-browns, light greens, ochres, and a touch of cerulean, pays homage to the painterly outdoor scenes of the Barbizon school, and produces some of his most recognizable work. The following painting comes from the collection of art critic, publisher, poet and curator Richard Milazzo, author of a catalogue on Michel Frere and curator of several shows Sidney Janis Gallery, one of the most prominent platforms for avant-garde art in postwar New York. The Gallery, opened in 1948 and founded by eponymous art collector and entrepreneur Sidney Janis along with wife Harriet Janis, represented the likes of Lichtenstein, Warhol, Rosenquist and Oldenburg, and held exhibitions of Fauvist, Dada, Surrealist and De Stijl artists: Matisse, Mondrian, Giacometti, Arp, Leger. The Sidney Janis Gallery is perhaps best known for furthering the now-illustrious Abstract Expressionists, such as de Kooning and Pollock, and subsequently, the Pop Artists (the aforementioned Lichtenstein and Warhol) in its influential 1962 exhibition titled The New Realists.
SVETOSLAV NIKOLAEVICH ROERICH (RUSSIAN-INDIAN 1904-1993) Portrait of the Artist's Wife, the actress Devika Rani, sold along with a dedicated gift to Roerich from the Altai-Himalayas Conference each oil on board 30.5 x 40.6 cm (12 x 16 in.); the companion 20.3 x 27.9 cm (8 x 11 in.) comprising: a) a portait of the artist's wife Devika Rani (recto) and study of a woman (verso), and b) a landscape of the Himalays by an unknown artist. The second painting features a dedication to Svetoslav Roerich and his wife from the Yoga followers in Russian: Dear Svetoslav Nikolaevich! Participants of the International scientific and public conference "Altai-Himalayas-91", dedicated to the spiritual heritage of E.P.Blavatskaya, with the help of this work express their veneration of the contribution of the Roerichs' family to the spiritual rebirth of humanity and wish you and your wife Devika Rani-Roerich light and joy!LOT NOTES Svetoslav Roerich, son and chief collaborator of Nikolai Roerich, was a Russian-born painter, architect, illustrator and designer. Roerich’s peripatetic youth, from Russia to Finland to Great Britain to the United States, eventually led him to India, where he moved in 1931 and where he would go on to spend the rest of his life. Per his wishes, he was buried in Bangalore, at the 25-acre "Tataguni" estate he owned with his wife - soon to be remodeled into a museum of Roerich’s work. While Roerich began painting at a young age, it is his later portraits - including those of Nehru and Indira Gandhi at the historic Central Parliament Hall in New Delhi, his father and his wife Devika Rani, depicted here - that constitute the best-known part of his oeuvre.Film producer and actress (once student of Marlene Dietrich) Devika Rani, whose performances in some of the most popular films of the Indian Golden Age of Cinema earned her the title of “The First Lady of the Indian Screen,” married Roerich in 1945. Devika Rani sat for multiple large-scale paintings and countless drawings, some of the most sensitive portraits Roerich produced. Shown in profile, her chin upturned, her gaze undisturbed, Devika Rani imparts an air of composed sophistication. Her elegantly coiffed curled hair, softly highlighted skin, set against a background of mauve pink, as opposed to the majority of her portraits by Roerich, is less fraught with detail and decidedly more modernistic. Roerich outlines her silhouette with a single undulating stroke, parallelling her posture with three teal-colored forms at the lower left.The present portrait is accompanied by a mountainscape, dedicated to Roerich by members of the Altai-Himalayas Conference, whose name references Nikolai Roerich’s eponymous diaries. Like his father and mother, Svetoslav Roerich was deeply dedicated to the statues of the Treaty on the Protection of Artistic and Scientific Institutions and Historic Monuments, better known as the Roerich Pact, which, through his efforts, was signed by the Indian government in 1948. Besides an emphasis on the support of arts and sciences, the Roerichs were deeply influenced by the esoteric teachings of Theosopher Helena Blavatsky, referenced in the dedication. Throughout his life in India, Roerich actively lobbied for conservation efforts for ancient Indian art and monuments, and was, along with his parents, an inspiration to groups like those that organized the Conference.
A Royal Worcester twin-handled vase, in blush ivory, of ovoid baluster form, painted with floral sprays and with wing and scale handles, puce printed mark for 1895, shape number 1712 (lacking cover); together with a Royal Worcester blush ivory jug, of baluster form, painted with floral sprays and with reeded handle, puce printed mark for 1899, shape number 1094. (2) First 31cm
Set of six early 20th century Royal Worcester coffee cups and saucers, decorated with cartouche panels of exotic birds and insects on blue scale ground, painted by George Johnson, pattern no. 2136 (12) Condition Report Date codes - five cups & three saucers 1905. One cup & saucer 1907. Two saucers 1909. One saucer has two large cracks and crazing. Another two saucers having crazing. All others have the smallest of wear to the gilding. One cup has been heavily restored, two cracks are visible, exterior and interior painted. Another cup has a crack running all the way through and a broken handle, all have been repaired. All other cups have very light wear to the body and traces of dirt.
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![[§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)ADOLESCENCEEtching, signed39cm x 28cm (15.25in x 11in)Provenance: Elizabeth H](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/2d52a396-4059-4448-c863-b3b84235d605/468x382.jpg)
![[Biblical text] Gill, Eric (illustrator). The Song of Songs, called by Many the Canticle of Canticles, The Golden Cockerel Pr](https://cdn.globalauctionplatform.com/8cefbaf2-1f85-41cb-8d8f-a95800a4e1e3/43e49337-1638-4710-e8e9-fae9ae37d6a6/468x382.jpg)
