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Click here to subscribe*British Aircraft Corporation B.A.C. 1-111 475. A static 1/72nd scale desk-top display model, by Space Models Ltd., of composite construction, modelled with Rolls Royce `Hush Kit` engines, finished in B.A.C. livery, on chrome-plated tripod stand, 15.75in (40cm) wingspan, with storage box (1)
*BŸcker `Bestmann`. A well constructed and much flown flying scale model of this popular training aircraft as used by the Luftwaffe during World War Two, with operating flying control surfaces, including flaps, the cockpit with dummy instrumentation, the fixed main undercarriage and tail wheel with rubber tyres, finished with light blue under surfaces and deep-green main planes fuselage and tail, with code BN+OE, 70in (178cm) wingspan (1)
*Fokker DRI - Triplane. A good large scale model of the famous fighter of the Great War, well-constructed of wood frame with fabric-covered surfaces and internal fittings for radio-control flight, bright-red livery of the Baron von Richthofen`s personal top-scoring fighting machine, lacking engine and propeller, w/span 72in (182cm) (1)
*Supermarine `Swift`. A fine 1/24th scale static desk-top display model, of wood and composite construction, with glazed cockpit hood and windscreen, possibly made in the model workshops of Vickers Armstrong, finished in pale grey over deep green camouflage with R.A.F. roundels and fin flash, on blue enamelled metal stand, 16in (40.6cm) wingspan with Vickers-Armstrong wood carrying case, 27 x 24 x 9.5in (68.5 x 61 x 24cm) (1)
*Vickers V.C.10 Royal Air Force in-flight refuelling tanker. A 1/72nd scale static desk-top display model of this long-serving R.A.F. aircraft by Space Models, composite construction, finished in service camouflage with roundels and fin flash, with chrome-plated tripod stand, 23.25in (59cm) wingspan, in wood carrying case, 26.25 x 26.25 x 10in (66.7 x 66.7 x 25.3cm) (1)
*Bentley Decanter. A desk-piece table decanter by `Ruddspeed` Ltd., c.1960s, in the form of a miniature `Red Label` 3-litre Bentley radiator, chrome-plated with applied enamel badge and mesh grille detail, together with a 1/20th scale model of a Mercedes 500K Roadster by Burago, unused in original box (2)
Å Ronald Cameron, born 1930 The Diver bronze signed R Cameron variegated brown patination 210cm.; 83ins high This lot is sold with a certificate of authenticity signed by the sculptor stating that it is number 4 out of an edition of 4. Ronald Cameron was born in London in 1930 and studied at the Camberwell College of Art from 1947- 53. After working as a graphic artist he was asked to make the TV puppets for Gerry Anderson’s films of Thunderbirds, Captain Scarlet and Joe 90, producing 60 heads in all. Commissions for soldiers and farm animals followed for Britain’s and Airfix, which in turn lead to work modelling miniature figures as promotional gifts for companies such as Kelloggs and Shell Oil, together with sports trophies for events like Batsman of the Year, won by Clive Lord and the Professional Snooker championship won by Steve Davis. Commercial success meant that in the 1980’s he was able to concentrate more on producing larger scale sculpture for commissions and galleries including the Alwin Gallery in Mayfair London, where his work was exhibited alongside works by Elisabeth Frink and Henry Moore. Other exhibitions and commissions included: Whitford Gallery in Duke St., St James’s, London; Three relief figures for the Athens Olympics; Giant Panda collection boxes commissioned by Sir Peter Scott for the World Wildlife Fund; Miniature figures for the Chapman brothers |Holocaust|; A Nude figure which won the sculpture prize in the 2002 Royal Academy Summer Exhibition; An over life size bust of the Lord Chief Justice, Lord Woolf for the National Portrait Gallery
Coffee set with silver holders, comprising Staffordshire egg shell, coffee cans & saucers, decorated with fish scale & floral pattern on a yellow background, each in ornate silver rococo style holders with handles, one cup badly damaged & repaired & stuck in holder, h/m Birmingham 1900 (5.41oz) in original fitted case, case damaged & worn
ENGINEERS SCALE MODEL OF A HYDRAULIC TURNTABLE, designed and modelled by Charles Andrews and Sons, the revolving octagonal turntable, 14 1/2" (36.8cm) diameter, with removable gantry above travelling on rails, all mounted on a mahogany boxed plinth under a square perspex cover, 21" (53.3cm) wide overall
AIRFIX SERIES 9 PLASTIC KIT OF THE SEVENTEENTH CENTURY SHIP WASA, assumed complete, A IMAI 1:150 SCALE PLASTIC KIT OF THE SHIP NAPOLEON, ANOTHER PLASTIC KIT completeness not known TOGETHER WITH A PILOT-QUICK BUILD SERIES FLYING MODEL OF SUPERMARINE SPITFIRE MK11 for remote control flight assumed complete (4)
John Andrews (fl. 1766-1809) and Matthew Wren - Coloured engraving - "A Plan of the City of Canterbury Survey`d by Jon. Andrews and Mat. Wren 1768", 18.5ins x 23.5ins, printed and sold by A. Dury, in Dukes Court, St. Martins Lane and W. Herbert, No. 27 Goulston Square, White Chapel (published as final plate of "A Topographical Map of the County of Kent in twenty-five sheets on a scale of two inches to the Mile" by John Andrews, Andrew Dury and William Herbert 1769)
John Andrews (fl. 1766-1809) and Andrew Dury (fl. 1742-1778) and William Herbert - "A Topographical Map of the County of Kent, 1769 - Twenty-five sheets on a scale of two inches to a mile from an actual Survey" printed for A. Dury in Dukes Court, St. Martins Lane, and W. Herbert at No. 27 in Gulstons Square, White Chappel, bound as one atlas size folio with twenty-three double page sheets of maps, plan of Sandwich, plan of Canterbury and map of the County of Kent (one volume the original bindings with marbled boards and leather spine and corners - spine damaged and split to front and back and boards generally worn)
"The Calendar Clock" - A modern brass framed table clock, the silvered upper dials depicting months of the year and signs of the Zodiac, the lacquered brass framed movement with silvered twin scale showing hours and minutes on a central girdle supported by plain turned pillars, 7.5ins diameter x 7ins high, mounted on turned walnut base, complete with cylindrical glass dome for same (No. 9 of edition limited to 500)
Charles Tyrrell (b.1950) UNTITLED, 1981 oil over acrylic and mixed media on wood signed, inscribed and dated on reverse; with inscribed Taylor Galleries exhibition label on reverse 39 by 39in. (99.06 by 99.06cm) Provenance: Taylor Galleries, Dublin Exhibited: `Charles Tyrrell, paintings + drawings`, Taylor Galleries, Dublin, 19 June - 4 July, 1981, catalogue no. 9 The artist`s inscription on reverse reads, "reworked in oil March 2003 Charles Tyrrell `03". The National Irish Visual Artist`s Library`s [NIVAL] copy of this exhibitIon catalogue records that paintings numbered "4" and "8" (diptych) from this series were purchased by AIB. Untitled, 1981 is an example of the artist`s early work after graduating from the National College of Art and Design in 1974. It shows the influence of his trips to the United States in both its subject matter and scale, both of which were a break from the norm for Irish audiences at the time. In his note in May 2010, Aidan Dunne remarked on the artist`s distinctive style in reference to Slow Turn, 1987, formerly in the O`Driscoll collection. He developed a personal, grid-based pictorial vocabulary based on rhythmic subdivisions of the picture plane, combining textural painting with lines, angles and arcs... Jim O`Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O`Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation. This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks. (£4,050-£5,670 approx)
Louis le Brocquy HRHA (1916-2012) THE TÁIN COLLECTION Aubusson tapestry; Atelier René Duché (each no. 4 from an edition of 9) signed with initials in the weave on reverse by maître-lissier, René Duché and numbered lower right; with certificate of authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duché 72.50 by 110in. (184.15 by 279.40cm) Provenance: Agnew`s, London; Where purchased by the current owner Exhibited: `Louis le Brocquy Aubusson Tapestries`, Agnew`s, London, 3-29 May 2001, The Táin Tapestries Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland`s oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin. The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce`s Finnegans Wake drew on its meandering style - but Thomas Kinsella`s Táin was the first widely-accessible version, especially when Oxford University Press` 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass` Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation. The images le Brocquy called `shadows thrown by the text` became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in these tapestries. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post. Le Brocquy`s innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. This shows immediately in Army Massing, where marks cascade in rivulets that resemble both chain mail and hand-writing, and in the H-shaped Cúchulainn confronting Ferdia. Different ages and cultures whisper through the images - and through these twenty tapestries made during 1998-2000, when le Brocquy collaborated with maître-lissier René Duché, whose firm had recently been awarded the honour Meilleur Ouvrier de France. Cuchulainn`s Warp Spasm, for example, speaks both of calligraphic marks from Sun Tzu`s The Art of War and Yves Klein`s bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples. The translation into tapestry, via le Brocquy`s Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché`s subtly-textured cottons and wools freed le Brocquy`s black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book`s relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or sentence. They belong together. The tapestries were last seen at the Irish Museum of Modern Art in 2003, when they were acquired under the Heritage Tax Scheme. It is profoundly moving to see them together in these weeks after the artist`s passing on 25 April 2012. Le Brocquy`s hand reaches out through them. Medb Ruane April 2012 (£202,510-£243,010 approx)
A Russian walrus ivory and bone box with stained veneers, Kholmogory, late 18th Century decorated with fretwork panels of dogs, rabbits, birds on gold coloured foil or mica 12cm high, 20.5cm wide, 14cm deep. Catalogue note Kholmogory, located near the Archangel on the White Sea coast, was an important trading city in Russia’s far north and in particular, was a centre of the walrus ivory trade. During the 18th century it produced high quality and highly original carved ivory frames, boxes, busts and in some exceptional cases full-scale veneered furniture. For additional information see I.N.Ukhanova, Bone carving in Russia in the 18th and 19th centuries, 1981, pp 107-110.
A fine Kano School five-fold screen depicting cranes in landscape, Japanese, late 19th century colour on gold leafed paper 170cm high, 371cm long. Catalogue note “The Kano School, the largest in the history of Japanese art, was in the center of the art scene for 400 years from the 15th century (the Muromachi Period) through the 19th century (end of the Edo Period). They served as art professionals for Oda Nobunaga, Toyotomi Hideyoshi, and Shogun Tokugawa, and placed themselves at the center of the art scene by associating with powerful figures of the time. They strongly influenced the Japanese art scene as a professional painting group that dealt with a variety of genres: from wall paintings for Emperor’s residences, castles, and large scale temples, to industrial art such as decorative fans”.
A version of the Thebes Stool by Ole Wanscher (1903-1985) Provenance Modern Ole Wanscher made scale drawings of the stool from the tomb of Tutankhamun, in the National Museum, Cairo, in 1952, and published them in his major book of the history of furniture, Møbelkunsten, 1955 (the first plate, opposite p. 1). These drawings are reproduced amongst the images to the right. The design of the present stool appears to be taken directly from these drawings, it can be clearly seen from the drawings that they are of sufficient detail to allow a piece of furniture to be made from them. 45cm high, 42cm wide, 37cmdeep
The late Frank Wilson worked in the British Aero industry and commissioned a collection of fine detailed model aircraft made by model makers attached to the industry. Each aircraft is modelled on an original with authentic registration details. The 40 models, in 7 lots, represent most of the major types flown by the RAF from Vickers Vimy to Canberra. The collection includes variations on standard models i.e. Lancaster with Merlin engines, with radial engines, Dambuster variant, with large `tallboy` bomb load and with Barnes Wallace `grand slam` bomb. Earlier and later markes by Avro such as Manchester and Lincoln included. All built to exacting standards, information supplied by Allan Wilson, son of Frank. 1501 Collection of 6 professionally built form various kits 1:72 scale British bi-planes, superbly finished (x6)
8x various 1:72 scale professionally built model aircraft from kits to include; Avro Lancaster 2 models (one with bouncing bomb)a twin engined light transport plane on Armstrong Whitley, Bristol Beaufort, a Short Stirling, DH Mosquito, Gloster Gladiator, plus a bomb tractor and 2 trailers (x11)
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