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Lot 548
A Regency mahogany eight day bracket clock, double fusee movement with shaped plates, plate signed Molyneux, London, strikes on a bell, the round convex dial with Roman numerals, indistinctly signed to dial, brass fish-scale sound frets to sides, a gadrooned top surmounted by a cast brass pineapple finial and standing on brass ball feet. H. 49cm
Lot 177
THE GOLDEN VOYAGE OF SINBAD (1973) - Ray Harryhausen Hand-Drawn Concept Of The Cyclops A hand-drawn concept sketch showing the Cyclops from the Gordon Hessler fantasy film The Golden Voyage of Sinbad. The creature eventually evolved into the Cyclopean Centaur through the course of pre-production. The piece shows the mythical one-eyed beast holding a club and a small Arabian figure, probably Sinbad, to demonstrate scale. It is rendered in pencil on paper. The left edge is irregularly cut, but overall the artwork remains in very good condition. Dimensions: 50 cm x 40 cm (19 ½" x 16")A similar, completed version of this image features on pages 174-175 of The Art of Ray Harryhausen by Ray Harryhausen and Tony Dalton, published by Aurum. Please note this lot is sold without copyright, reproduction rights, licensing agreements or any other type of legal release. VAT Status - Margin TRIANGLE
Lot 192
ONE MILLION YEARS B.C. (1966) - Ray Harryhausen Scale Concepts For Allosaurus and Ceratosaurus Six printed sketches forming two triptychs of the Allosaurus and Ceratosaurus dinosaurs from director Don Chaffey’s fantasy-adventure One Million Years B.C. The first three images show the Allosaurus in profile and rear view, with a Neanderthal Man for size comparison. The second set shows the rear and profile views of the Ceratosaurus. Harryhausen created size comparison drawings during production of the film as a matter of routine, they were vital for his own reference, as well as that of the actors to visualize the true height of his creations. The printed artworks, on paper, remain in very good condition. Dimensions: 25 cm x 38 cm (10" x 15") The Allosaurus image is featured as a single drawing on page 85 of The Art of Ray Harryhausen by Ray Harryhausen and Tony Dalton, published by Aurum. Please note this lot is sold without copyright, reproduction rights, licensing agreements or any other type of legal release. VAT Status - Margin TRIANGLE
Lot 201
THE VALLEY OF GWANGI (1969) - Ray Harryhausen Ornithominus Scale Comparison A printed sketch of an ornithomimus from Jim O’Connolly sci-fi western The Valley of the Gwangi. This image shows an ornithomimus in profile and front on, along with a human figure scaled at 6 feet tall. Harryhausen made this detailed size comparison during production of the film as a matter of routine, as it was vital for his own reference, as well as that of the actors to visualise the true height of Harryhausen's creations. The printed artwork titled Ornithomimus is in very good condition. Dimensions: 40 cm x 51 cm (15 ½" x 19 ½") This image features on page 207 of Ray Harryhausen An Animated Life by Ray Harryhausen and Tony Dalton, published by Aurum. Please note this lot is sold without copyright, reproduction rights, licensing agreements or any other type of legal release. VAT Status - Margin TRIANGLE
Lot 202
THE VALLEY OF GWANGI (1969) - Ray Harryhausen Hand-Drawn Pterodactylus Scale Comparison A hand-drawn sketch for a pterodactylus (or pterodactyl) from Jim O’Connolly’s sci-fi western The Valley of the Gwangi. This image shows a pterodactyl in front view revealing its full wingspan, along with a human figure scaled at 6 feet. Harryhausen made detailed size comparisons as a matter of routine as they were vital for his own reference, as well as that of the actors to help them visualise the true height of Harryhausen's creations. Titled Pterodactylus – Pteranodon, this represents the final, most detailed version of the drawing. It is in good condition after undergoing professional restoration. Originally on two pages, the original tape has been removed and the join remade. A tear to the right side has also been expertly repaired. Dimensions: 38 cm x 79.5 cm (15" x 31")Please note this lot is sold without copyright, reproduction rights, licensing agreements or any other type of legal release. VAT Status - Margin TRIANGLE
Lot 203
THE VALLEY OF GWANGI (1969) - Ray Harryhausen Gwangi Scale Comparison A printed sketch of Gwangi from Jim O’Connolly’s sci-fi western The Valley of the Gwangi. This image shows Gwangi (a Tyrannosaurus Rex) in profile, along with a cowboy figure scaled at 6 feet tall and an elephant at 11 feet tall. Harryhausen made this detailed size comparison during production of the film as a matter of routine, as it was vital for his own reference, as well as that of the actors to help them to visualise the true height of Harryhausen's creations. The printed artwork is in very good condition. Dimensions: 40 cm x50 cm (15 ½" x 19 ½")A similar version of this printed image features on pages 66-67 of The Art of Ray Harryhausen, and on page 207 of Ray Harryhausen An Animated Life, both by Ray Harryhausen and Tony Dalton, published by Aurum. Please note this lot is sold without copyright, reproduction rights, licensing agreements or any other type of legal release. VAT Status - Margin TRIANGLE
Lot 204
THE VALLEY OF GWANGI (1969) - Ray Harryhausen Hand-Drawn Scale Comparison of El Diablo A hand-drawn sketch for scale comparison from Jim O’Connolly’s sci-fi western The Valley of the Gwangi. The image shows El Diablo, the miniature pre-historic horse that was the catalyst for the film's plot. A height scale indicating six inches and a scale drawing of a human hand complete the composition. Harryhausen made detailed size comparisons as a matter of routine, as they were vital for his own reference, as well as that of the actors to help them visualise the true height of Harryhausen's creations. This drawing is very detailed and represents the final version of this image. It is executed in pencil on paper and remains in very good condition. Dimensions: 40 cm x 50 cm (15 ¾"x 19 ¾") Please note this lot is sold without copyright, reproduction rights, licensing agreements or any other type of legal release. VAT Status - Margin TRIANGLE
Lot 205
THE VALLEY OF GWANGI (1969) - Ray Harryhausen Pterodactylus Scale Comparison A printed sketch of a Pterodactylus (or pterodactyl) from Jim O’Connolly’s sci-fi western The Valley of the Gwangi. This image shows a pterodactyl in profile, along with a human figure scaled at 6 feet tall. Harryhausen made this detailed size comparison during production of the film as a matter of routine, as it was vital for his own reference, as well as that of the actors to help them visualise the true height of his creations. The printed artwork titled Pterodactylus – Pteranodon, is in very good condition. Dimensions: 37 cm x 59 cm (14 ½" x 23") Please note this lot is sold without copyright, reproduction rights, licensing agreements or any other type of legal release. VAT Status - Margin TRIANGLE
Lot 206
THE VALLEY OF GWANGI (1969) - Ray Harryhausen Hand-Drawn Scale Concept Of Gwangi A hand-drawn sketch from Jim O’Connolly’s sci-fi western The Valley of the Gwangi. This artwork shows a lassoing cowboy on horseback, a standing cowboy and Gwangi, with a height reference scale maxing out at 14 feet. Harryhausen made detailed size comparisons as a matter of course, knowing they were vital for his own reference, as well as that of the actors to help them visualise the height of Harryhausen's creations. This drawing is extremely detailed and represents the final version of this particular image. It is drawn in pencil on paper and displays minimal wear from production use. Dimensions: 40 cm x 50 cm (15 ¾" x 19 ¾")A similar drawing features on page 207 of Ray Harryhausen An Animated Life by Ray Harryhausen and Tony Dalton, and on pages 66-67 of The Art of Ray Harryhausen by Ray Harryhausen and Tony Dalton. Both are published by Aurum. Please note this lot is sold without copyright, reproduction rights, licensing agreements or any other type of legal release. VAT Status - Margin TRIANGLE
Lot 247
JAMES BOND: THUNDERBALL (1965) - Early Bomb Carrier Design Model, Printed Concept Illustration, and Production Slides An early design model of Emilio Largo's (Adolfo Celi) bomb carrier, printed concept illustration, and production slides from Terence Young’s spy thriller Thunderball. This model was made as a concept for the bomb carrier seen in the underwater battle at the climax of the film as James Bond (Sean Connery) attempted to recover the nuclear warheads stolen by SPECTRE. Made of plaster, this sled is painted orange and red, while the warheads are unpainted. The model shows some differences from the full-scale version, particularly to the propeller and cockpit windows, which are not painted on the small model. The piece is signed by Jordan Klein who designed the vehicle. Included with the model is a glossy print of concept illustration showing the bomb carrier and 44 production slides from the underwater battle sequence. The concept illustration includes a shaded rending, and basic top, side, and front views of the vehicle. The production slides are housed in four protective slide sleeves. The set shows minor wear due to production use and age, with the model showing some wear to the paint which has undergone minor sympathetic restoration, however the lot remains in good condition. Model dimensions: 39 cm x 26 cm x 13 cm (15 ½" x10 ¼" x 5"); slide dimensions: 23 cm x 19 cm x 13 cm (9" x 7 ½" x ¼")Please note the photographs in this lot are sold without copyright, reproduction rights, licensing agreements or any other type of legal release. VAT Status - OMEGA
Lot 249
JAMES BOND: NEVER SAY NEVER AGAIN (1983) - Underwater Bomb Sled Blueprints A set of blueprints depicting the bomb sled from Irvin Hershner’s spy thriller Never Say Never Again. James Bond (Sean Connery) tracked Maximilian Largo (Klaus Maria Brandauer) to an underground facility known as the Tears of Allah. To transport his stolen nuclear warheads to his base, Largo used an underwater sled to navigate through the ocean. This lot includes a 127 cm x 84 cm (50" x 30") drafting blueprint, and five reduced size blueprints showing various elevations of the sled. Designed by Phillip Harrison, the large drafting is done in 3" =1' scale, and includes top, side, front, and back section views. The five 13 cm x 42 cm (5" x 16 ½") drafting plates are done in 1" = 1'scale and show the sled in its various forms, both transporting divers and the nuclear warheads. The set shows minor wear to the paper due to production use and age, but remains in fine used condition. Folded dimensions: 32 cm x 22 cm x 1 cm (12 ½" x 8 ½" x ¼") VAT Status - OMEGA
Lot 391
STAR TREK: ENTERPRISE (2001-2005) - Xyrillian Costume A Xyrillian costume from the sci-fi television series Star Trek: Enterprise. The alien race wore their uniforms during the season one episode 'Unexpected', in which Commander Tucker (Connor Trinneer) was impregnated during a short visit to the Xyrillian ship. The costume consists of a glossy stretch fabric jumpsuit with realistic scale patterning and lines of piping throughout. Also included is a pair of leather ankle boots covered in a matching scale pattern material. All pieces are labelled 'Christina Carmel' and remain in good condition. VAT Status - Margin
Lot 396
STAR TREK: ENTERPRISE (2001-2005) - Silik’s (John Fleck) Suliban Stunt Costume Silik's (John Fleck) Suliban stunt costume from the sci-fi television series Star Trek: Enterprise. One of the first adversaries encountered by the crew of the Enterprise, the Suliban race featured from the very first episode of the series, with Silik a senior official in the Suliban Cabal. The costume is a one-piece stretch fabric jumpsuit with inbuilt shoes. The fabric is assorted shades of red, with a scrunched appearance and a scale pattern throughout, with a zippered rear closure. Attached are bands of red silicone piping accentuated with black paint. Handwritten on several ‘Enterprise' labels are the names 'Louis Ortiz', 'Stunt Silik' and 'Paul Sklar'. Overall the costume remains in good condition. VAT Status - Margin
Lot 439
STAR WARS - EP V - THE EMPIRE STRIKES BACK (1980) - Millennium Falcon Landing Foot Miniature A Millennium Falcon landing foot miniature from director Irvin Hershner’s Star Wars: The Empire Strikes Back. Made of resin, this piece is one of the front landing feet from a small scale Millennium Falcon, referred to as the ''4' model', and was constructed by the Industrial Light & Magic model miniature department. The landing gear is painted grey on top and appears mechanical in nature with various panels. The piece shows minor wear due to production use and age, but remains in very good condition. Dimensions: 9cm x 11 cm x 3 cm (3 ½" x 4 ½" x 1") VAT Status - OMEGA
Lot 501
TEAM AMERICA: WORLD POLICE (2004) - Remote-Control Team America Hummer H2 A remote-control Team America Hummer H2 vehicle from Trey Parker’s Team America: World Police. This bespoke remote-control miniature car is one of the smaller scale vehicles created for the production, and resembles a heavily armoured Hummer H2. This version was made for the chase sequence in Cairo, and features half-body action figures of Chris in the driver seat and Joe in the passenger seat. The piece is painted in colours representational of the red, white and blue of the American flag, and includes white stars as sticker logos. The R/Ccar has guns at the front, roof-mounted rockets, and rocket boosters on the sides of the vehicle. The piece has red and blue alarm lights attached in front of the sun roof, which are powered by a 9-volt battery. This version of the Team America Hummer does not have attached license plates, and the rockets do not feature the Team America logo. Paired with the car is a 1.4GHZ transmitter and an Onyx200 battery charger. The lot shows some wear due to production use, but overall remains in good condition. Car Dimensions: 23 cm x 51 cm x 22 cm (9" x 20" x 8 ½"); remote control dimensions: 9 cm x 14 cm x 28 cm (3 ½" x 5 ½" x 11"); charger dimensions: 23 cm x 11 cm x 5 cm (9" x 4 ½" x 2")As this item contains electronic components, every effort has been made to describe them accurately; however no guarantee or warranty is made as to functionality, lifespan or safety of those components. It is entirely incumbent on the new owner to satisfy themselves as to their safe use and maintenance. VAT Status - OMEGA
Lot 504
TERMINATOR 2: JUDGMENT DAY (1991) - Visual Effects Clapperboard A visual effects clapperboard from James Cameron’s sci-fi action film Terminator 2: Judgment Day.This clapperboard is made of wood, with the slate categories painted with white lettering within white boxes. White tape is applied next to several boxes and indicates this particular clapperboard was used by special visual effects company,4-Ward Productions, during the classic playground scene when nuclear fire decimates Los Angeles. To achieve the look of nuclear devastation, 4-WardProductions constructed the Los Angeles cityscape using large scale miniatures and subsequently destroyed it using air mortars. The clapper stick is still firmly attached via metal hardware. Well-used and exhibiting natural production wear on the hinge and plate, the clapperboard remains in very good condition. Dimensions: 30 cm x 27 cm x 3 cm (12"x 10 ¾" x 1") VAT Status - OMEGA
Lot 51
BATTLESTAR GALACTICA (1978) (1978-1979) - Cylon Raider Miniature A Cylon Raider miniature from the sci-fi television series Battlestar Galactica. Cylon Raiders were the primary Starfighter used by the Cylons through the series. This production-used miniature was supplied by the Monogram model company, which had pantographed miniatures from the mini-series in order to mass produce commercial models. This model kit version was sent by Monogram to the visual-effects houses working on Galactica. The Monogram kits were used for forced perspective shots with the studio scale Cylon Raiders, and for use as background models in a hangar shot. Behind-the-scenes photos exist of these kit models in usage during production. Made of plastic, the piece has been expertly painted in various shades of grey, with green pentagon decals on the wings. The Cylon Raider shows some wear due to production use, with the tip of the right blaster cannon missing, however otherwise it remains in very good condition. Dimensions: 22 cm x 27 cm x 6 cm (8 ¾" x 10 ½" x 2 ½") VAT Status - OMEGA TRIANGLE
Lot 72
CONAN THE BARBARIAN (1982) (1982) - Conan’s Father’s (William Smith) Sword Concept Artwork A hand-drawn concept image of the sword belonging to Conan’s father (William Smith) from John Milius’ fantasy epic Conan the Barbarian. This artwork was created by artist Ron Cobb, who served as production designer for the film, and shows the sword wielded by Conan’s unnamed father. The sword served as an important plot device throughout the film, as Conan (Arnold Schwarzenegger) sought revenge against Thulsa Doom (James Earl Jones), who took the sword after razing Conan’s village. The detailed image is executed in coloured pencil and ink over an original production dyeline and shows the sword’s elaborate engraved runes and skull guard design. Created in 1:1 scale, the dimensions for the sword are marked along the right side of the blade. R. Cobb and the date have been added to the sketch in Nordic style lettering most probably not in Ron Cobb's hand, and is presented in a framed display. Dimensions (framed): 3.5 cm x 60.5 cm x 135 cm (1 ½" x 23 ¾" x 53 ¼") Please note this lot is sold without copyright, reproduction rights, licensing agreements or any other type of legal release. VAT Status - Margin
Lot 4
BAIN, J (editor):The Authentic Map Directory of London and Suburbs,Geographia, (1936), fourth edn. the last pre-war edition, complete with key map, large-scale street plan of London and suburbs in 173 sections, a plan of the City in 3 sections, additional maps of parliamentary, administrative, police, the underground, home counties, postal districts, etc., with index to over 43,000 names, 191 colour-printed map sheets. 4to.; original cloth; spine detached; o/w G+
Lot 59
18th century Worcester leaf-shaped dish with painted floral reserves within gilt cartouches on blue scale ground with green stalk handle - Chinese seal mark, 19cm CONDITION REPORT Good original condition - small hairline to border and small hairline at base of handles. Very small rim chip on underside
Lot 3522
WORLD COINS, Italy, Ferrara, Alfonso II d’Este (1534-1549), Silver Bianco, undated, armoured bust left, HERCVLES II DVX FERRARIAE IIII, rev DILIGITE IVST QVI IVDICATIS TERRAM, Justice seating right, holding an axe in her right hand, a scale in her left hand, 4.93g (CNI 58, MIR 296). A number of light horizontal scratches on portrait, good very fine for issue and very rare.
![Colin Middleton MBE RHA (1910-1983) CHILDREN AT PLAY, 1939 oil on canvas signed [Colin M] and dated [1939] lower left; titled](https://cdn.globalauctionplatform.com/138248c8-5cbf-4539-a4f0-a6750101aa6d/1d129ca9-5808-43ee-dc00-f63660f4ad48/468x382.jpg)
Lot 27
Colin Middleton MBE RHA (1910-1983) CHILDREN AT PLAY, 1939 oil on canvas signed [Colin M] and dated [1939] lower left; titled on reverse 24 x 29½in. (60.96 x 74.93cm) Collection of George and Maura McClelland The Belfast street scenes that Colin Middleton painted mostly during the war years reflect the depth and complexity of his own relationship with the city where he lived until well into his thirties. Some represent a particular named place, while many are unspecific but, as in Children at Play, present a highly stylised synthesis of the Victorian terraces and repeated architectural features that occurred throughout the city.Despite his familiarity, as a damask designer, with the factories and industrial landscape of Belfast, Middleton usually chose in his paintings to concentrate on the opposite side of city life, the tightly-organised residential streets and the lives led there. This housing was largely the result of Belfast's swift industrial expansion; the building that rises in the distance with its three chimneys resembles a factory or mill and is a reminder of the relationship between the people he depicted and the places that provided employment. The present painting demonstrates Middleton's affection for Belfast and his sense of solidarity with these anonymous inhabitants with whom he shared the city. Alongside the intense, generally non-naturalistic colour and the simplification of forms, this painting is composed with extreme sophistication, based on geometrical arrangements that connect the figures and the architectural environment in a series of interlocking shapes. A number of triangles both isolate and connect the cat and the various figures, while the arrangement of shapes in a range of scale and complexity creates small harmonious sections that also become part of the larger geometry of the composition. The repeated flat planes of colour and the abrupt curve as the street rises away demonstrate Middleton's awareness of Cézanne's compositional arrangements. The year of Children at Play, 1939, was highly significant for Middleton. His first wife, Maye, died in the summer of that year and following this loss he was apparently unable to paint for almost a year and also destroyed many of the paintings in his studio. It seems likely that this was painted earlier in the year and escaped the destruction of works. In this context, particularly given the outbreak of World War II in that same year, it takes on an added poignancy, a high-toned, intimate and peaceful recollection of an ordinary world in which children play innocently in the street and people go quietly about their business. Dickon HallAugust 2016 L
Lot 93
Seán Keating PRHA HRA HRSA (1889-1977) ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD, ACT 1, 'RISING UP IN THE RED DAWN...' oil on canvas signed in Irish lower right; signed again and dated Aibrean [April] 1922 on reverse 30 x 25in. (76.20 x 63½cm) Acquired at the Dawson Gallery, Dublin, early 1950s;Thence by family descent to the previous owner;Whyte's, 30 April 2007, lot 90;Private collection;Whyte's, 30 May 2011, lot 37;Private collection RHA, Dublin, 1923, catalogue no. 169 as illustration for "The Playboy of The Western World", Act 1, "Rising up in the red dawn..." Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927 Seán Keating has become synonymous with the west of Ireland in general, and with the Aran Islands in particular. His association with the western seaboard began as early as 1913 and was further emphasised through a series of self-portraits for which the artist dressed in Aran clothing. There is no evidence that Keating ever met John Millington Synge, but in 1917 the artist exhibited a painting in the RHA titled The Outlandish Lovers, which was inspired by The Playboy of the Western World. Synge's nephew, known as 'Hutchie', approached Keating in 1922 with a commission to paint twelve illustrations for a proposed deluxe volume of The Playboy of the Western World. In the event, ten of the twelve images were published. Sir John Lavery was called upon to inspect the first four illustrations. Lavery was greatly impressed by the realism, colour and artistic invention in the work, and he considered them of great importance to the craft of book illustration in Ireland at that time. The full set of paintings was to have been ready in 1926, but a delay on Keating's part meant that the book was finally published as a numbered series of one thousand copies in 1927. The publication has since become a collectors' item.It was an important and prestigious commission, and Keating took his role as an illustrator of Synge's work very seriously. As if to expand on Synge's story, Keating chose scenes from the play that, for the most part, are not seen on stage. Perhaps most interesting of all is that Keating himself makes an appearance in the images as Christy Mahon's father. Proving his commitment to the commission, the artist even posed entirely nude for the scene in which Christy's father apparently awakes from the 'dead' (lot 93). It is the only instance of a nude portrait of the artist in his entire career. In order to plan the compositions in great detail Keating undertook a series of photographs using models from the school of art. He may also have taken sketches at the theatre because many of the actors of the day appear in the illustrations. Sara Allgood, sister of Molly for whom the role was originally written, appeared as Pegeen Mike in a production of The Playboy of the Western World staged in 1924. The features of the female model wrapping bandages around Christie's head are very similar to Sara's, but in this instance she is now the Widow Quin. Barry Fitzgerald and F. J. McCormack, who took part in that same production in 1924, also make an appearance in Keating's illustrations as 'the hairy gallant fellows'. From 1926 until circa 1936 the role of Pegeen Mike was played by Eileen Crowe, who makes an appearance in Keating's work in the guise of 'Helen of Troy', while a cast of likely-looking prophets, or Abbey actors, appear behind 'the bars of paradise' in order to get a look at her. The artist makes another appearance as the figure to the left of the group of prophets.Once the publishers had reproduced the images to the required scale, the original paintings were returned to the artist who exhibited them in various venues in the late 1920s. They are an unusual, witty and yet contextually important series of works that signal the nature and extent of the interconnection between the visual arts and literature in the early years of the Irish Free State. Dr Éimear O'Connor HRHAAuthor of Seán Keating: Art, Politics and Building the Irish Nation(Kildare: Irish Academic Press, 2013) P
Lot 231
A Fine 19th Century Coalport Inkwell, a pair of small 19th century crested ware spill vases and a small Berlin porcelain censer. The Coalport inkwell decorated with floral bouquets in gilt edged cartouches on a rich dark scale blue ground with a moulded animal's head spout and gilt handle (A/F). The spill vases decorated with heraldic crests and having flying scroll handles, 3¾ ins (9.5 cms) high (restored). The Censer of oval form with pierced lid, twin handles and four scroll legs raised it above a base 'burner'. decorated with romantic scenes between panels of pale yellow glaze with gilt embellishments, 6½ ins (17 cms) in height.
Lot 210
A Rare Derby Figure of Edmund Kean as Richard III by Robert Bloor & Co. Circa 1815. Modelled standing on naturalistic base against a tree stump, wearing gilt scale doublet and a red ermine lined cloak with a plumed black hat at his feet. Incised 28 with hand painted crown, batons & dots over D mark on base. 11 ins (28 cms) high.
Lot 347
Esmeralda. Fine scale model. 110cm x 60cm x 25cm. The Esmeralda is a steel-hulled four-masted barquentine tall ship of the Chilean Navy. The ship is the sixth to carry the name Esmeralda. The first was the frigate Esmeralda captured from the Spanish at Callao, Peru, by Admiral Lord Thomas Alexander Cochrane of the Chilean Navy, in a bold incursion on the night of 5 November 1820. The second was the corvette Esmeralda of the Chilean Navy which, set against superior forces, fought until sunk with colors flying on 21 May 1879 at the Battle of Iquique. These events mark important milestones for the Chilean Navy and the ship's name is said to evoke its values of courage and sacrifice. Uncased. Full set of images available upon request.
Lot 348
Juan Sebastian Elcano. Fine scale model. 110cm x 60cm x 25cm. Juan Sebastián de Elcano is a training ship for the Royal Spanish Navy. It is a four-masted topsail, steel-hulled barquentine (schooner barque). At 113 metres (371 ft) long, it is the third-largest tall ship in the world, and is the sailboat that has sailed the furthest, covering more than 2,000,000 nautical miles (3,700,000 km; 2,300,000 mi) in its history. It is named after Spanish explorer Juan Sebastián Elcano, Captain of Ferdinand Magellan's last exploratory fleet and the man to lead the first circumnavigation of the world. The ship also carries the Elcano coat of arms, which was granted to the family by Emperor Charles I following Elcano's return in 1522 from Magellan's global expedition. The coat of arms is a terraqueous globe with the motto "Primus Circumdedisti Me" (meaning: "First to circumnavigate me"). Uncased. Full set of images upon request.
Lot 324
Bluenose. Fine scale model. Scale 1:10. 80cm x 70cm x 20cm approx. Uncased. Bluenose was a fishing and racing schooner built in 1921 in Nova Scotia, Canada. A celebrated racing ship and fishing vessel, Bluenose under the command of Angus Walters became a provincial icon for Nova Scotia and an important Canadian symbol in the 1930s, serving as a working vessel until she was wrecked in 1946. She was later commemorated by a replica, Bluenose II, built in 1963. The name Bluenose originated as a nickname for Nova Scotians from as early as the late 18th century. Not cased. Full set of images available upon request.
Lot 329
H.M.S. Bounty. Fine scale model. Scale 1:60. 80cm x 70cm x 30cm approx.Cased. HMS Bounty, also known as HM Armed Vessel Bounty, was a small merchant vessel purchased by the Royal Navy for a botanical mission. The ship was sent to the Pacific Ocean under the command of William Bligh to acquire breadfruit plants and transport them to British possessions in the West Indies. That mission was never completed due to a mutiny led by Acting Lieutenant Fletcher Christian. This was the famous Mutiny on the Bounty. The ship was later burned on Pitcairn Island by the mutineers. The remains of the Bounty were discovered in 1957 by an American adventurer and various parts of it have been salvaged since then. Full set of images available upon request.
Lot 338
H.M.S. Victory. Fine scale model. 110cm x 110cm x 60cm. HMS Victory is a 104-gun first-rate ship of the line of the Royal Navy, ordered in 1758, laid down in 1759 and launched in 1765. She is best known as Lord Nelson's flagship at the Battle of Trafalgar in 1805. She was also Keppel's flagship at Ushant, Howe's flagship at Cape Spartel and Jervis's flagship at Cape St Vincent. After 1824, she served as a harbour ship. In 1922, she was moved to a dry dock at Portsmouth, England, and preserved as a museum ship. She has been the flagship of the First Sea Lord since October 2012 and is the world's oldest naval ship still in commission. Uncased. Full set of images available upon request.
Lot 1054
THE ARK OF THE COVENANT.a full scale historical research "Ark" constructed by an archiological historial researcher with measurements based on the Egyptian royal cubit (dimensions 80.025cm x 80.025 cm x133.375cm) the summounted seraphim based on those of the sarcophagus or Ahiram (Beruit museum). This Ark has been used in various documentaries and photo shoots including national geographic.
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