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Click here to subscribeQuantity of Star Wars items: boxed Polydata Tusken Raider 1:6 scale vinyl model kit, with an autograph to lid saying `To Lee, Peter Diamond, Tusken Raider`; two Kenner 1997 Commemorative Limited Hong Kong Edition figure sets; picture of Darth Maul signed by Ray Park. Overall appear G-VG, but sticky substance to boxes.
Four Corgi 1:50 scale diecast model lorries: CC12807 Cyril Knowles Scania T Can Feldbinder Tanker; CC12902 Tunderman Transport Scania Topline Fridge Trailer; CC13812 Knauf/Eddie Stobart Mercedes-Benz Actros Curtainside; 76102 Canute Renault Premium Powder Tanker. Overall appear VG-E in VG boxes. (4)
OSKAR KAUFMANN: A SET OF SIX TWIN-LIGHT BRONZE SCONCES, each with leaf and scale-cast scrolling candlearms and star cast candle cups. From wall, 0.36m. Note: these will probably have formed part of a chandelier, most likely the previous lot. . Provenance: Leo Lewin, Villa Lewin Breslau, thence by descent
A 3 1/4" gauge model steam locomotive in green and black GNR livery, the cab numbered 1142, with tender, model no. 1193, locomotive l. 70 cm x w. 19 cm x h. 27 cm, tender l. 45 x w. 19 cm x 21 cm * This model is of the Great Northern Railway Ivatt 'Large' Atlantic Locomotive. This design first saw service in 1902. It is built to a scale 3/4" to one foot and was completed in 1975 by M. Kingston of Stony Stratford CONDITION REPORT: Wear commensurate with age, for more info please refer to auctioneers NO BOILER CERTIFICATE
A collection of six Vanguards popular saloon car vehicles, boxed, a similar commercial vehicle, a Matchbox Masterclass Collection Jaguar XJ220 scale vehicle, eleven boxed Corgi die0-cast models, a Corgi Webster "The Home of Brewing Excellence" boxed set, a Corgi Hong Kong fire support vehicle, boxed, and thirteen further boxed die-cast scale model vehicles
Tanglewood Stratocaster style electric guitar, white finish, various surface marks and scratches to the finish, electrics appear to be in working order, logo rubbed from headstock, condition: okay; together with another Stratocaster style electric guitar, black finish, surface marks and scratches to the finish, electrics appear to be in working order, condition: good and two short scale electric guitars both in need of attention (4)
A Victorian specimen wood centre table, the circular top intricately inlaid in a scale design with a variety of specimen woods. The table top diameter 45 ins. PROVENANCE-this table was exhibited at The North London Working Classes Industrial Exhibition 1864. Accompanying the table is one volume “Illustrated Memorial of the North London Working Classes Industrial Exhibition 1864”. This table is Exhibit No. 800. The table was awarded a First Class Prize Certificate to The Manufacturer J. Selley, Carpenter, 7 Heath Villas, Hampstead Heath and signed by Russell, Gladstone & Shaftesbury. The certificate is dated 1864 and the accompanying medal 1866. the medal date on the certificate is also dated 1866 and was probably presented just over a year after the exhibition. Provenance by descent through the family (see illustration).
Edgar Vinters (Latvian, b.1919) `On the Dordogne` oil on panel, signed lower right dated 20th August 1994, inscribed verso 26 x 34½in. (66 x 88cm.) * Edgar Vinters was born in 1919 in Riga, and studied at the Latvian Academy of Arts from 1940-44. He has exhibited widely in Latvia and the UK since 1949 and is known for his large scale landscape and floral still life work. His style is realist and he works plein air, striving for light and clarity in his work, which displays clear influences from the Impressionist movement.
A William III Britannia Standard silver mug Robert Cooper, London 1697, of tapered cylindrical form with reeded S-scroll strap handle, moulded rim and foot, rope twist upper girdle over a band of basal flute and reed decoration on a matted ground, all with punched foliate borders, a repoussé cartouche with scale ground to the front, 3in. (7.4cm.) high, weight 2.25 tr.oz.
A boxed Victory Industries Vickers Vigor Crawler Tractor 1950s, in 1/16th scale, the impressive battery operated model in dark blue plastic, with black rubber tracks, remote control unit with cable attached, in the original colourful lidded box with packing pieces, instruction leaflet and guarantee sheet, 11¾in. (30cm.) long, lacks smoke stack.
John Shinnors (b.1950) Rooks Go West, Scarecrows Oil on canvas, 167.5 x 172cm (66 x 68") Signed and inscribed with title verso Exhibited: "John Shinnors - Twenty-one Paintings" Exhibition, The Taylor Galleries, Dublin, 2000, where purchased by current owner Born in 1950, Shinnors studied at the Limerick School of Art for a short period under Jack Donovan, and taught for several years before taking up painting full time in the 1980s. He has exhibited all over Ireland and his paintings are found in many public collections including IMMA, The National Self Portrait Collection of Ireland and the University of Limerick. Throughout his painting career he has been interested in representing and re-interpreting a wide repertoire of motifs, including cows, birds, kites, clothes, lighthouses and scarecrows. A restrained palette is characteristic of his work at this time, and through this palette he explored many variations of light and dark, and depiction of forms in shadow and light. At first glance, like many of his works, this painting has an abstract look but gradually recognisable shapes and forms reveal themselves as those described in the title. Painted in his characteristic colour combinations, the monochromatic shades are illuminated by a warm golden light coming from the right, or east if we are to read the painting like a field and the light as the sun rise. The black areas of the painting can be seen as both opaque surfaces, an end in themselves, and as voids through which other areas and levels of the painting are almost within reach. The subtle variations within the black tones - Shinnors has said he uses five blacks - are difficult to see in reproduction but the artist also uses thin touches of strong green, hardly visible to the casual observer but providing an intriguing contrast within the black space. Surface textures vary, building up the painting layer by layer in a quasi-collage composition. Yet the motifs are coherently placed, with shape and form balanced in relation to each other and across the large scale of the painting as a whole. Aidan Dunne, who has written extensively on the artist, noted: "It is as though each painting is a site at which disparate things conspire to create a composition, a fleeting event that is caught, just about, in the twinkling of an eye, and pinned there by the artist"
Frederick E. McWilliam HRUA RA (1909-1992) Study for Homer II Bronze, 24cm (9½") Signed with initials and numbered 3/3 Provenance: Waddington Galleries London, 30th November 1961, where purchased and thence by descent to current owner Literature: "The Sculpture of F.E. McWilliam", 2012, by Denise Ferran and Balerie Holman, Cat. No. 168, p123 By this point in his career, McWilliam was teaching sculpture at the Slade, and exhibiting all over the world, including London, New York and South America. This is a study for a large scale public sculpture, the year after his commission for Princess Macha at Altnagelvin Hospital, and demonstrates the artist's progression into large, freestanding, surface textured bronze works. The angular elongated legs of the figure preempts his exploration of legs in bronze, which occupied him in the late 1970s. The full size version of this sculpture is at Belfast City Hospital where it is affectionately known as 'The man with the broken arm'. (See note on McWilliam sculpture, p.114)
Seán O'Sullivan RHA (1906-1964) St. Audeon's Under Snow Oil on board, 46 x 55.5cm (18 x 22”) Signed, also signed and inscribed on reverse Exhibited: 'Thirty Years', Victor Waddington Galleries, Dublin, February 1956, Cat. No.19. A vivid evocation of a famous Dublin Church, heavily impastoed with much skilful use of the palette knife to gain purchase on the image. It does remind one of some interiors which he'd painted, with a good sense of scale as well as form to give the pictorial thrust which the work required to move it out of just a topographical image and imbues it with energy and emotion. He also decorates the surfaces with linear painterly intrusions to make the surface more vivid and animated. Ciarán MacGonigal
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