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Lot 8
Diecast Models - a quantity of diecast model motor vehicles to include a Corgi limited edition 1:43 scale Peugeot model #EX70613, Corgi Bedford 19302, Corgi Fire Rescue Service 19201, Corgi Renault #EX70522, Chevrolet Fire Chief 51201, San Diego Chevrolet Sheriffs Car 51301 also included in the lot are Oxford diecast advertising vans, Vitesse, Stilo and other
Lot 117
Ponting (Herbert, 1870-1935). An album of photographs of Japan, compiled by Herbert Ponting, c. 1906-10, a total of approximately 200 gelatin silver prints, printed on thin photographic paper and neatly pasted in the album on rectos and versos throughout, numbers in the range 300 to 755 inscribed besides most of the photos (relating to an overall numbering system used by Ponting from 1907 or earlier), subjects include Mount Fuji and other Japanese volcanoes, palaces, temples, natural beauty spots, and people, including craftsmen at work and in less formal, unnumbered photographs, friends and acquaintances Ponting met on his travels, images 17.5 x 12.5 cm or smaller, contemporary cloth, rubbed, oblong folio The photographs were taken between 1901 and 1906, while Ponting was based in America and travelling regularly to Japan and other countries in Asia. Many were published during his lifetime as stereoviews or in books (including his own Fuji-San, Japanese Studies, and In Lotus Land, Japan) and magazines in Britain, America and Europe. Large-scale prints of many of the photographs in the album were also exhibited in London before Ponting left for Antarctica in 1910. Notable amongst the photogrpahs of craftsmen are several of renowned Cloisonn‚ maker Y Namikawa of Kyoto and his studio workers. Provenance: Acquired from or following an exhibition and sale of Ponting's effects held in his London flat after his death in February 1935, and now being sold by successors of the original acquirer. (1)
Lot 362
*Style of Joseph Mallard William Turner (1775-1851). An early English manor house, small-scale watercolour on paper, 62 x 92 mm (2.5 x 3.6 ins), antique-style gilt frame, glazed, with printed label of David E. Green Gallery, 188 Dartmouth Road, London, to verso, and handwritten attribution to Turner signed by Andrew Wyld (1)
Lot 408
*Attributed to Abraham Bloemaert (1564-1651). Landscape with thatched barn, shepherd reclining and man leaning on a staff, circa 1610-20, pen and brown ink on laid paper, inscribed in ink in a 17th century hand to verso: 'n.9' upper left, 'no. 30 - p.g.15 I 29 dec 88.' centre of top margin, and 'P. Autore Fiamingo' centre, several minor chips and one short closed tear to sheet edges at upper left and upper right (with discreet archival repairs to verso), image size 188 x 291mm (7.4 x 11.5 ins), sheet size 213 x 318mm (8.4 x 12.5 ins) Provenance: Private Collection, Dorset. A relatively large-scale Flemish landscape drawing. The subject matter is similar to the series of farmhouse landscapes by Bloemaert which were engraved by Boetius Adams Bolswert and published under the title Verscheyden aerdige Lanthuysen nae t'leven Gekonterfeyt by Claes Jansz. Visscher in 1620. (1)
Lot 462
*De Morgan (Evelyn, 1855-1919). Female nude study for Boreas and Oreithyia, pencil on card, full length female nude, dust-soiled, some ink marks to left-hand edge, and toned vertically to right (affecting forearm), sheet size 36 x 25.5cm (14 x 10ins), together with Compositional sketch for Boreas and Oreithyia, charcoal and pencil on card, showing a winged male figure with a female nude and drapery, lightly dust-soiled, sheet size 40.5 x 31cm (16 x 12ins), plus a further compositional study of figures, pencil on card, showing three females nudes, one bowed over on the ground and the other two rising up amongst swirls of vapour, sheet size 24 x 14.5cm (9.5 x5.75ins) 'Boreas and Oreithyia' was completed in 1896 and exhibited at the Society of Oil Painters 1899-1900, the Walker Art Gallery in 1900, and at Wolverhampton in 1907, before being purchased by the artist's sister Mrs. Stirling. It was left in trust, with the rest of Mrs. Stirling's collection, to the De Morgan Foundation, which she had personally established ('Evelyn De Morgan, oil paintings', DMF, 1996, plate 33). A large scale oil, the work depicts Boreas, the Greek god of the north wind, carrying off Oreithyia (daughter of Erechtheus) from the banks of the Ilissus. Oritheyia was modelled by Evelyn's maid, Jane Hales, and for Boreas she used a professional artists' model, who also modelled for Edward Burne-Jones's 'The Beguiling of Merlin'. The De Morgan Foundation has eight further drawings, both figure and compositional studies, which were executed in preparation for the full-scale work. Our female nude, interestingly, shows the body at a less acute angle than in the finished oil, or indeed than in the accompanying compositional sketch. Together with the De Morgan Foundation studies, the drawings offered here help to build up a picture of the artist's detailed and thorough working processes. (3)
Lot 569
A collection of assorted aeroplane model kit spares & accessories to include; Airfix & Revell wings, engines, bombs, weapons, sealed bags of plane parts for various sets, Academy Hobby Model Kits A-37B Dragonfly, Revell Master Class airbrush spay gun kit (mint), Badger precision spray set, Premier Planes British Airways collectable scale model A319 passenger jet & others. Mainly loose, with some kits/ models boxed.
Lot 207
KONSTANTIN ALEXANDROVICH VYALOV (RUSSIAN 1900-1976) Surami Pass, 1933 oil on canvas 99 x 79.5 cm (39 x 31 1/4 in.) signed, titled and dated lower right PROVENANCE Acquired from the family of the artist Collection of Victor Kholodkov Private Collection, New YorkLOT NOTES Konstantin Vyalov was a well-known Russian (Soviet) painter, graphic and theatre artist known for his large-scale industrial and naval paintings as well as posters and book illustrations. In 1914-1917 studied at the Stroganov School of Applied Arts, reorganised during the revolution as GSKhM (Independent State Art Studios), better known as a part of VKhUTEMAS, where Vyalov studied under Kandinsky and Tatlin (1918-1920) and later Shterenberg (1920-1924). His early period was highly influenced by Malevich and the Constructivist and Suprematist movements at large. Vyalov was one of the founding members of OST (along artists such as Aleksandr Deyneka and Yuri Pimenov). After the dissolution of the collective, he became part of Izobrigada (1931-1932). Throughout the 1920s and 1930s, Vyalov worked primarily as a book illustrator and on political and anti-religious posters (he would go on to also create a series of war posters for TASS` "Windows"), eventually turning to Social Realism. While traveling throughout the USSR in the early 1930s, Vyalov made a series of works documenting the industrialisation of the country, from Crimea, Turkmenistan, and the following work, painted in Georgia in 1933. Vyalov was apparently thrilled by the rapid appearance of technology (like the train at the focus of this composition) in predominantly-agrarian regions. From 1933 to 1940 Vyalov also designed the All-State Agricultural Exhibition, later known as the VDNKh trade shows. He exhibited frequently around the USSR (in 1923 along Popova, Rodchenko, Exter; in 1930 with Malevich) and abroad, including in Paris with Altman, Kandinsky, Mayakovsky, and Stepanova (1925), in Leipzig (1927) with Lissitzky, as well as in Berlin (1927, 1928), Venice (1932), New York (1933) and London (1934). His works are held in the Tretyakov Gallery, the Pushkin State Museum of Fine Arts, and the Russian Museum, as well as smaller regional museums and private collections.
Lot 438
Daniel Clowes (British, 1774-1829) Unboxing, The Off, The Chase, The Kill; scenes with a Harrier pack - after Samuel Howitt's (1756/57-1822) engraved compositions of Hare Hunting scenes, published 1798-99 all signed "D Clowes pinxit / Howitt del"; and "The Kill" also dated "1822" oil on canvas (a set of four) 59 x 85cm (23 x 33in) Provenance: From a Buckinghamshire country house All four paintings are executed on canvas supports which have been lined. The paint layers have localised areas of flaking and loss, the painting with a hare is actively flaking on a small scale. All of the paintings have a yellowed, dull varnish with various scuffs and scratches. The frames have suffered from wear and abrasion.
Lot 573
A George III ebonised bracket clock, the break arch case with handle above 8inch (20cm) painted dial, with strike silent to the arch and Arabic numerals, rectangular brass scale side frets, twin fusee movement signed 'Samuel Robson, North Shields' to the backplate, pull repeat cord, on a moulded base 43.50 x 29.50cm (17 x 12in) lacks glass to door, lacks one side moulding to the base, lacks lower moulding to rear door and one small upper corner moulding. Sold as seen
Lot 150
A pair of early 19thC Henley family crested silver coasters, each of circular outline with upper shell and scroll banding, centred by crests on a cedar lined base, with repoussé decorated scroll, flower head and shell body, marks rubbed, 15cm wide, 16oz all in. (2) N.B The crests refer to The Henley Family of Waterderry House, Oxon, large scale shippers during the Napoleonic Wars.
Lot 151
England & Wales. Visscher (Nicolas), A New Mapp of the Kingdome of England, Representing the Princedome of Wales and other Provinces, Cities, Market Towns, with the Roads from Town to Town and the Number of Reputed Miles between them, are given by Inspection without Scale or Compass. Printed and given out at Amsterdam by Nicolas Visscher upon the Dam at the signe of the Fisher, with priviledge of ye states generalls and are to be sould at London by John Overton at the White Horse without Newgate, circa 1694, large engraved map with contemporary hand colouring, ornate cartouche and alphabetical table of cities and towns to the vertical margins, old folds, frayed with slight loss to central fold (in Dorset), slight creasing, backed with archival tissue, 580 x 770 mm R. W. Shirely. Printed Maps of the British Isles, 1650 - 1750. Visscher 2. state. 4. (1)
Lot 181
London. Faden (William), A Topographical Map of the Country Twenty Miles round London planned from a scale of two miles to an inch, published Sept. 1st. 1800, circular engraved map, sectionalised and laid on linen, contemporary outline colouring, slight offsetting, overall size 610 x 610 mm, contained in a contemporary marbled card slipcase with printed label to upper board, together with Kitchin (Thomas), Kitchin's Enlarged Map of the Roads of England & Wales with the exact distances by the mile stones between town and town, published Robert Sayer, June 17th 1786, engraved map, sectionalised and laid on linen, contemporary outline colouring, 545 x 445 mm, contained in a contemporary marbled slipcase with printed label to upper board The first described item. Howgego no.193, state 2. (2)
Lot 198
New Forest. Faden (William), A Plan of His Majesty's Forest, called The New Forest in the county of Southampton, laid down from surveys taken by Thos. Richardson, Wm. King and Abm. and Wm. Driver, by order of the Commissioners of the Land Revenue appointed by an Act of Parliament passed in the 26th year of King George, 1789, a large scale map on ten engraved sheets, nine with bright contemporary hand colouring, incorporating a large uncoloured decorative cartouche, an index map, a list of the officers and wardens of the New Forest, a list of the Bailwicks and Walks in the forest, compass rose and table of explanation, large margins, very slight staining, each sheet approximately 575 x 580 mm, retaining contemporary endpapers, modern half calf gilt on marbled boards, slim upright folio A rare map of the New Forest whose accuracy ensured that it was in continual use in several editions up until the late 19th century. We can find only one other copy of this, the first edition, appearing in auction in the last twenty years. (1)
Lot 200
Ordnance Survey. A collection of seventy-nine maps (only), scale 1 inch / 1 mile, various dates but mostly early - mid 19th century, engraved maps, several with early outline colouring, sectionalised and laid on linen, together with two index maps (Northern and Southern England), each approximately 630 x 940 mm Sold as a collection of maps, not subject to return. (81)
Lot 258
*Prints & Engravings. A collection of various antiquarian steel engravings, etchings and Old Master prints, mostly 18th and 19th century, including a mezzotint portrait of Edward Heardson, Cook to the Ad Libitum Society, by J. R. Smith after James Barry, etched portrait of John Stuart Mill by Rajon after G.F. Watts, mixed method engraving of Sarah Siddons as the Tragic Muse, by Francis Haward after Reynolds, 1778 (trimmed near border line), large scale engravings including Tilbury Fort by Willmore after Clarkson Stanfield, The House of Commons in 1860, by J.G. Barlow after John Phillip (signed by Phillip), Family of Lions, by Atkinson after Rosa Bonheur, 1881 (signed by the engraver), a quantity of stipple engravings reissued on silk, an late 18th century oval embroidered landscape on silk, etc (approx. 40)
Lot 632
Bolivian Military Academy Officer’s / Cadet’s Pickelhaube. A good and scarce example, the black leather skull retains a good shape and is mounted to the front with a silvered plat of an eagle standing upon laurels. Two cockades support silvered chin scale strap and to the crown a tall silvered spike secured by three stars (one absent) and perlring, supports a white horse hair plume. The interior with leather sweatband, cotton upper lining. Overall GC
Lot 709
WW1 Imperial German Saxon Duchies Infantry Officer’s Pickelhaube. A scare late WW1 made example, the black leather skull retains a good shape and is mounted to the front with a Prussian State plate, overlaid with a Saxony Star. National and State cockades support now grey coloured chin scale strap and to the crown a tall spike secured by four stars. The interior with leather sweatband and silk upper lining. This is a late war item and all metal furniture would have been flash gilt and are worn to the base metal, also wear to the leather skull.
Lot 710
WW1 Imperial German Prussian 88th Infantry Regiment Officer’s Pickelhaube. A very good example, the black leather skull retains a good shape and is mounted to the front with a Prussian State plate, bearing the Battle Honours “Mesadelbor”, “Belle Alliance”, “Medellin”. National and State cockades support gilt metal chin scale strap and to the crown a tall gilt spike secured by four stars. The interior with leather sweatband and cotton upper lining. The gilt remains good and fresh.
Lot 765
WW1 Imperial German Prussian Infantry Officer’s Pickelhaube. A good example, the black leather skull retains a good shape and is mounted to the front with a Prussian State plate. National and State cockades support gilt brass chin scale strap and to the crown a tall gilt spike secured by four stars and perlring, supports a scarlet yak hair plume. The interior with leather sweatband, upper cotton lining absent. Overall GC stitching faults to rear peak.
Lot 798
WW1 Imperial German Baden Infantry Officer’s Pickelhaube. A good late WW1 made example, the black leather skull retains a good shape and is mounted to the front with a Baden State plate. National and State cockades support gilt chin scale strap and to the crown a tall gilt spike secured by four stars. The interior with leather sweatband and silk upper lining. This is a late war item and all metal furniture would have been flash gilt. Spike and Baden plate have dulled to base metal and some chin scales now show the base metal colour. Overall GC retains a good shape.
Lot 852
A Victorian Officer’s Mameluke Sword. Flat curved blade, richly etched throughout its entire length with foliate decoration, VR cypher, trophies of arms, cherubs etc, gilt-brass crosspiece with embossed decoration, and grip with ivory scales. Housed in its gilt-brass scabbard with cruciform bands to suspension-rings. Gilt rubbed, one ivory scale cracked and chipped, three studs and the sword-knot bush absent from grip.
Lot 486
Heinrich Johann von Zügel (German 1850-1941) A farmhand with horses watering at a stream Oil on canvas 99 x 158cm; 39 x 62in This alluring oil by Zügel is typical of his large rural scenes, which nearly always featured farm animals and livestock. He started his training in Stuttgart in 1867 and it was at this point that he discovered his desire to specialise in painting animals and the countryside. After two years he moved to the Academy of Fine Arts in Munich, but later decided to pursue his own direction and moved to Vienna. On returning to Munich he discovered impressionism and after visiting Paris he changed his style to reflect the atmospheric lighting of the impressionist movement. He later joined the Munich Secession movement as one of their first members. A theme to which he returned frequently was the heavy horses of agriculture. He was not alone in this regard as many artists became preoccupied with the debt humans owed to these hard working animals, who kept farms and the food chain working year in and year out. He painted many of his large canvasses on this theme and this work is a delightful depiction of a team of horses watering after a hard days work on the farm, the farmhand capable of controlling the whole team. It is painted on a large scale which reflected the respect that Zügel felt for these creatures. He worked into his eighties and he was unusual in that he mastered the art of painting on a very large and also very small scale with equal skill and success.
Lot 82
Four glass decanters and stoppers, including one with etched banded decoration, the tallest being 26cm high, five Staffordshire cottages including one in the form of a money box, a Dresden porcelain rectangular tea caddy and cover, early 20th century painted in Deutsche Blumen and gilt, together with a similar beaker, a Staffordshire swan form spill vase, a Meissen twin handled chocolate cup and saucer, outside decorated with romantic style figures within blue scale borders, and an English porcelain cylindrical jar and cover painted with flowers (af)
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216136 item(s)/page