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Lot 191
Joal - Tonka - 5 Compact 1/50 scale diecast vehicles and a Tonka Roller. Includes #234 Volvo BM L 70 Loader, #230 Vovlo BM 6300 Excavator Loader, #149 Volvo Scale Bus and others. Items appear to be in excellent condition in very good-excellent boxes. (This does not constitute a guarantee) RG
Lot 12
Porsche 911 Carrera RS Replica 1973 - White marble Sculpture1/12 scale sculpture, made of Carrara marble, created by the artist Massimo Galleni in Pietrasanta, Italy. It depicts a 1973 Porsche 911 Carrera RS Replica. A unique piece carved from a single block of marble. Sold with the artist's certificate and housed in a display case.41 x 16 x 13 cm For further information on this lot please visit Bonhams.com
Lot 611
Maud Lewis (1903-1970) Canadian The bride Signed, oil on beaverboard, 23cm by 30cmWe are grateful to Alan Deacon and Ian Muncaster for their assistance in authenticating this work. Maud Lewis (1903-1970) was a Canadian folk artist and remains one of Canada’s best-loved artistic figures. Living in poverty for most of her adult life, she painted joyous, nostalgic and vibrant pictures of rural life in her Nova Scotia home. Maud Lewis, nee Dowley, was born into a middleclass family in Yarmouth, Nova Scotia. Her father was a blacksmith and owned a harness shop, but despite relative affluence Maud’s childhood was not easy. She suffered from Juvenile rheumatoid arthritis, resulting in severely sloping shoulders, curvature of the spine and a recessed chin; Lewis spent much of her life in pain. Her mother, however, had an artistic nature, and taught Maud to paint Christmas cards which they would sell. After her parents died in the mid-1930s, Maud had no resources and went to live with her aunt in Digby, Nova Scotia. After seeing an advert for a live-in housekeeper 40-year-old bachelor Everett Lewis had placed, Maud turned up on his doorstep in nearby Marshalltown. Whilst apparently the pair did not hit it off immediately, a few days later Maud returned to his house and stated that she would not be his housekeeper but would be his wife. The pair married in 1938, and Maud moved into the tiny 4.2m x 3.8m house, with one-room and sleeping loft, where they would live for the rest of their lives, with no running water or electricity. Everett was a fish peddler, and Maud began accompanying him on his rounds, selling the Christmas cards she painted. Soon, Everett gave Maud her first set of oil paints, and they began selling her paintings too, all for very modest prices. Due to her ailments, Maud could not find employment, and indeed Everett even took over all domestic duties whilst Maud turned their little house into her studio and painted industriously – including every surface in their home. When Everett gained more stable employment, Maud put up a sign and sold her paintings from their home, which was on the side of the highway. Neighbours and tourists soon began flocking to purchase her colourful work but determined not to raise prices and put off buyers, the pair continued to live in poverty. Working on a small scale due to her limited mobility, Maud painted on cheap materials, such as a pulpboard used in the building trade known as beaverboard, and later ready-cut Masonite. After painting the board with a white ground, she would draw on an outline and then apply paint straight from the tube without mixing or blending. Maud focussed on a set range of subjects, mostly derived from memories of childhood and her surroundings in Nova Scotia before the onset of modernity; cats, deer and oxen, landscapes and depictions of harbour scenes, horse-drawn carts and sleighs. Nostalgic, yet optimistic, her works a happy simplicity with a touch of humour. Her most popular subjects were painted again and again, with minor variations, such as the present example Sandy Cove. This was one of only a select few subjects she painted across three decades. Sandy Cove is located on a long peninsular in the Bay of Fundy, not far from the Lewis’ home in Marshalltown. The other work up for sale, The Bride, is a more unusual subject for the artist, with far fewer variations known. Coming to the attention of a journalist, Maud became the subject of a radio documentary and subsequently a newspaper article in the mid-1960s. Her work captured the attention of the nation, and she achieved widespread recognition. However, with only limited ability to paint, she struggled to keep up with orders, and resolutely refused to charge more for her paintings, despite the likes of a staff member at the Whitehouse during Nixon’s presidency requesting more of Lewis's works to add to his collection. Today, her work is represented in museums and galleries around the world, with a large collection being found in the Art Gallery of Nova Scotia. Following her death from pneumonia in 1970s and Everett’s death in 1979, a permanent memorial was erected on the site of their home. Having captured the nations hearts, Maud’s life would become the subject of books, plays, and three films. Covered in a layer of surface dirt. Tiny loss to the left of the bottom edge within a lily pad and a slight indentation to the right of this to the lily pad centre of bottom edge. Slight scratch/indent approx 2cm within the green of the tree upper left corner. Minor scratch between the man's legs and a minor scratch within the rope he is pulling. Tiny white areas in places, for example to the right of the second tree trunk upper right corner, above the dog's nose to the blue, by design? See images.
Lot 44
Four boxes of doll's house furniture and accessories, comprising two boxes of 1:12th scale wood, metal, ceramic and upholstered items including a bathroom suite, one box of mixed small scale furniture and doll's house items and a box of doll's hats, shoes and bags (Est. plus 24% premium inc. VAT)Condition Report: Generally good, mostly modern.
Lot 284
Six model aircraft kits, comprising 1/72 scale Airfix Handley Page Halifax BIII, a 1/32 scale Revell Messerschmitt Bf110 C-4B, a 1/24 scale Trumpeter Focke-Wulf Fw190 D-9, a 1/48 scale Monogram B-17G Flying Fortress, a 1/48 scale Tamiya Dambuster/Grand slam Bomber, and a 1/48 scale Tamiya Avro Lancaster BI/BIII. All items opened, but only Bf110 appears to have had work done, unchecked for completeness
Lot 283
Six model tank and aircraft kits, comprising 1/35 scale Miniart T-44M, 1/35 scale Ar.v Club T-34/76, 1/35 scale Tamiya Panzer Kampfwagen IV, a 1/32 scale Revell P-47D Thunderbolt, a 1/32 scale Messerschmitt Me262A and a 1/35 scale Dragon PzKpfw. Ausf. G, the last item appears started with items removed from plastic mount, others appear unstarted although none checked for completeness
Lot 1189
A large and quite nicely detailed model of a fishing trawler; 'LT 44 Cordelia', 47" long. Online research has not revealed any details regarding a trawler numbered LT 44 named Cordelia. It has however been discovered that a trawler with that registration was recorded in Lowestoft as having been built in 1929 by J. Chambers & Co., Images of the vessel confirm that this vessel was actually known as Lord Suffolk. She was a steel side-drifter, ketch rigged trawler and was coal fired having single screw propulsion powered by a 3 cylinder steam power unit manufactured by William Burrell of Great Yarmouth. She was 115 gross tons and was 92 feet long with a beam of a little over 20 feet and a draft of 8 feet. In 1939 she was requisitioned by the Admiralty and converted to a minesweeper, apparently known as "Banshee". She was returned to her owners on the 25th January 1946. In March 1959 she was converted to oil power being fitted with a 5 cylinder 335 bhp Diesel engine by Mirrlees, Bickerton & Day of Stockport and was then recorded as being of 120 gross tons. The model represents the vessel after her conversion to Diesel, the original tall, slender funnel having been substituted with a lower profile replacement. Here is a model of a vessel with interesting history, starting out operating out of Lowestoft, then Hull, then after a move to the Welsh coast firstly Milford then finally Swansea. She was sadly eventually sold for breaking up in 1976. The model would appear to be to a scale of about 1:24 and could relatively easily be converted to a radio-controlled model, the propellor and shaft already being installed.
Lot 300
A GROUP OF LATE 19TH-EARLY 20TH CENTURY CHINESE CLOISONNE ENAMEL SAUCERS. Including: a fluted saucer painted with red dragons on a blue cloud pattern ground, puce seal mark, a canted rectangular example decorated with jardinieres and precious objects, within green scale pattern border, puce seal mark, a small circular saucer with figures in landscape within a blue ground and circle pattern border, two Canton examples with Shou symbols and famille rose flowers and a canted rectangular turquoise ground saucer decorated with a peach and flowers, the largest 12cm diam. (6) Provenance: Property of a Sussex gentleman Condition: The example decorated with dragons - with some chipping and losses to enamel to the underside and there is an old restuck chip with losses and old restoration.The example with vases and precious objects - with old restored overpainted chip to enamel at one corner and further chipping and losses. The circular saucer with figures and blue border - cracking, areas of old losses and overpainting to enamels, footrim slightly damaged. Remainder with some minor chipping and losses to enamel. Some typical crazing overall.
Lot 370
A GROUP OF JAPANESE BLUE AND WHITE PORCELAIN TEAWARES, EDO PERIOD, 18TH CENTURY AND LATER. Including: a set of three graduating teabowls in sizes decorated with birds above waves, two similar footed bowls with islands, character marks, a small plate painted with a bird in landscape, a pair of eggshell porcelain teabowls and saucers and other items, various character marks to bases (18) Provenance: Property of a Sussex gentleman Condition: Small dish with bird in centre and scale pattern border- cracked across border and restuck. The largest of the three graduating teabowls with hairline crack. Some minor rim chipping and minor wear overall.
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