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Lot 630
A Quantity of Diecast and Plastic Model Buses and Trolleybuses by Budgie, Corgi, Dinky and others. To include a Boxed White Metal Bedford 1945 Vista Coach Kit by Anbrico (unchecked), a boxed Limited Edition Corgi #33801 Titfield Thunderbolt Coach set, a 1:76 Scale Leeds City Transport Bus by Atlas Editions, among others. Mostly Play Worn Condition, re-painting/damage noted on some models. Together with a binder containing Corgi and EFE product information.
Lot 650
A Quantity of Diecast Model Vehicles and Plastic Model Kits. To include Corgi #CC20001 Dibnah's Choice Sentinel Dropside Waggon, Trailor & Load - Tarmac. Revell 1:72 Scale #04312 Horten Go 229. Together with a Anki Overdrive Fast and Furious Edition set (incomplete), mostly in original packaging.
Lot 823
A MAP OF CHESHIREBY FRANCIS SCATTER AFTER CHRISTOPHER SAXTON, DATED '1577', PUBLISHED C.1579titled 'Cestriae comitatus (Romanis legionibus et colonys olim insignis) vera et absoluta effigies', with hand-colouring, with a scale and a coat of arms believed to be those of Thomas Seckford, in a faux rosewood frame, together with Otten (R) and Smith (B), 'On The Map - A survey of Maps of the Border Counties of Hereford, Radnor, Brecon and Monmouth 1600-1840', published 2007 by Monnow Valley Arts Centre (2)40 x 52.5cm
Lot 1
⊕ GEORGE MAYER-MARTON (lots 1-11) His appearance, accent and manner spoke of a lost and to us largely unknown Mitteleuropa. Always meticulously dressed in a suit and wearing a hat and polished shoes, he would arrive in the college with his leather briefcase and don his professional white coat. Introduction In Their Safe Haven', Hungarian artists in Britain from the 1930s, compiled and edited by Robert Waterhouse, the story of George Mayer-Marton's bleak story of dispossession is graphically pieced together from the artist's diaries and via first hand accounts. Born in Gyor, North Hungary, the artist's formative years had largely been spent in Austria or Germany. During the First World War he had served on the front line in the Austrian army, and - leading up to the Anschluss - he lived in Vienna, happily married and, as vice-president of the Hagenbund, he was a leading voice among contemporary artists. But with Hitler's annexation of the country at the end of September 1938 together with Grete his wife he fled Vienna for London. Mayer-Marton's diaries evoke with withering honesty the reception he received and his despairing sense of dislocation: 'For the moment, London spells turmoil, noise, rows of double decker buses and a language one doesn't understand... We observe the English art of 'splendid isolation', their culture of bureaucratic niceties, good manners and cold souls; their complete consideration for others out of consideration for their own piece and quiet.' (Waterhouse, p. 74). Eventually the couple set up home and a studio in St John's Wood, only for the premises to be hit by an incendiary bomb in 1940 during the Blitz. In the ensuing fire Mayer-Marton lost the vast majority of the work he had brought with him. At the end of the War he learnt of the murder of his and Grete's parents together with his brother in the Holocaust. Grete's death in a psychiatric hospital in Epsom in 1952 followed, a consequnce of her inability to recover either from her forced exile or the subsequent destruction of their London home. Yet, despite such a succession of tragedies, Mayer-Marton was resolutely determined. He strove to replace the works lost in the London bombing, not simply with copies but because he felt challenged by the very different light and landscape of the British countryside, his lightness of touch and deftness of colour abundantly apparent in the present selection of works. He was also appointed a senior lecturer at Liverpool College of Art, a post in which he flourished. His Liverpool students recalled Mayer-Marton's innovative approach to teaching. He introduced weekly 'Socratic method' seminars, challenging students with rhetorical questions ranging from 'Kant's moral imperative to Schopenhauer's aesthetic theory, the scientific ideas of Einstein, concepts of the primitive in art, abstraction, expressionism, the medieval guilds and so on... these seminars were a decade before the history and theory of art were incorporated into art school curricula in the 1960s' (Waterhouse, pp. 212-213). In Liverpool he also introduced new technical know-how, in particular fresco painting and the re-introduction of Byzantine-style mosaic practices. These he deployed in a series of large scale ecclesiastical commissions in the north-west, including the large Crucifixion mural at the former church of the Holy Rosary, Oldham (1955), Pentecost now in Liverpool Metropolitan Cathedral, and the Crowning of St Clare at St Clare's Church, Blackley. GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) VIEW OF CONCARNEAU signed Gmayermarton lower right watercolour and wash on paper 52.5 x 36.5cm; 20 3/4 x 14 1/2in 79.5 x 67cm; 31 1/4 x 26 1/2 (framed) Mayer-Marton visited Concarneau, Brittany in 1950 and 1951. Held behind glass, not examined out of frame. This work appears in very good original condition, colours fresh and vibrant.
Lot 107
⊕ Trevor Bell (lots 107-114) One of the most important painters working anywhere today is Trevor Bell, and Bell’s first experiments in what we now call shaped canvases began in the late fifties. Patrick Heron, 1970IntroductionBell grew up in Leeds, where he studied at the College of Art (1947-1952) before teaching at Harrogate College of Art. In Leeds he met Terry Frost who was up from St Ives benefiting from a Gregory Fellowship at the university. On Frost's advice Bell and his wife moved to Cornwall in 1955. There Bell became a leading member of the younger generation of St Ives artists, exhibiting with the Penwith Society of Arts from 1956. Used to painting the grimey north of England, Bell responded with vigour and alacrity to the colour and light of his new surroundings capturing the atmosphere of the sea, coast and landscape of the south west in his distinctive and developing abstraction. An early mentor in St Ives for Bell was Ben Nicholson who encouraged him to show in London. Another there who admired his youthful painterly zest was Patrick Heron. Bell's first one man show at Waddington Galleries on Cork Street in 1958 was a sell out success. In the catalogue Heron described him as 'The best non-figurative painter under thirty'. The same year Bell was awarded an Italian government sponsorship; in 1959 he won one of six main painting prizes at the first Paris International Biennale of Young Artists and in 1960 he was awarded a Gregory Fellowship by Leeds University, and moved back north. During the following decade Bell enjoyed considerable commercial success both in the UK and abroad, including a succession of exhibitions at Waddington Galleries (1960, 1962 & 1964). It was during this period that he developed his interest in shaped canvases and the Tate Gallery purchased their first work by him. The decade culminated in a hugely successful show at the Richard Demarco Gallery in Edinburgh which toured to Northern Ireland and the Mappin Art Gallery, Sheffield. In the autumn of 1973 the Whitechapel Art Gallery mounted an exhibition of his recent paintings, and the following year he showed at the Corcoran Gallery, Washington DC. In 1976 Bell moved to Florida to take up the post of Professor for Master Painting at Florida State University in Tallahassee. Availed of a warehouse-sized studio and with time to really develop his painting he produced large-scale, intensely coloured works, reflecting the influence of the climate and landscape on him. A source of inspiration too were the rockets launched from Cape Canaveral, the first he saw being the night time launch of Apollo 17 in December 1972. This and subsequent rocket shots had a lasting influence on his work. Over the 20 years he spent in America exhibitions of his work were mounted at the Academy of Sciences in Washington, the Metropolitan Museum and Art Center, Miami, The Cummer Gallery, Jacksonville and the Museum of Art at Fort Lauderdale, Florida.In 1985 Bell was included in the the Tate Gallery's exhibition on St Ives 1939-64: Twenty-five years of Painting, Sculpture and Pottery and his work was featured in the Tate St Ives' inaugural show in 1993. Retiring from his Florida teaching post in 1996, he returned to Cornwall, setting up studios near Penzance. He was the subject of a full retrospective of his work at Tate St Ives in 2004 and in 2011 a further fourteen works were acquired by the Tate Gallery for their permanent collection. In the UK other examples of his work are in collections of The Arts Council of England, the British Council, the British Museum, Laing Art Gallery and the Victoria & Albert Museum.TREVOR BELL (BRITISH 1930-2017)TWOacrylic on canvas laid on panel and styrafoam56 x 58cm; 22 x 23inunframedPainted in 1967.
Lot 146
⊕ Michael Upton (lots 146-157)Tiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard John Russell Taylor, IntroductionUpton grew up in Birmingham where he attended the College of Art before joining the Royal Academy Schools in 1958. In London he became close friends with David Hockney and Patrick Proctor, shared a flat with nascent pop artist Peter Phillips, and was awarded an RA Leverhulme Scholarship. His work was featured in the influential annual ‘Young Contemporaries’ exhibitions that Phillips masterminded over four years (1959-63). The reviewer of the 1962 show in The Times commented: 'The exhibition fairly bubbles with bright ideas and visual excitement... its weird mixture of impudence, whimsicality and beautifully tender painting is well exemplified by Derek Boshier [and] Michael Upton...' A year later, however, after completing six identical canvases, Upton abandoned painting entirely, turning instead to conceptual art. He spent 1967-68 in New York, the recipient of a grant from the Cassandra Foundation. Others who received grants from the Foundation included John Cage, Bruce Nauman, Christo, Eduardo Paolozzi and Richard Hamilton. Increasingly Upton's interests lay in performance, and in the 1970s he founded London Calling with Peter Lloyd Jones which became an influential part of London's performance art scene. One of his works included burying a number of his paintings on a Dorset hillside. But at the end of 1970s Upton returned again to painting, taking up a teaching role at the RA Schools. In this later period Upton's preference was for small scale works. He often used photocopy or newspaper print as the support and he regularly produced series of images, similar to stills from a reel of film. Upton considered them 'conceptual paintings', and gained a new fan for his work in John Russell Taylor the influential art critic of The Times. In a review of 1979 Russell Taylor enthusiastically described Upton's paintings as 'tiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard', and in his review of the British Council touring exhibition Picturing People, British Figurative Art since 1945, he singled out Upton as one of a handful of 'highly sophisticated stylists'. Also won over to Upton was the critic Mel Gooding who commented on Upton's 'subtle allusiveness (hints of Piero, Vermeer, Sickert)...another way of deepening the game, of adumbrating the mystery. An art of intimations'. As his work evolved so Upton also gave it more loaded political messaging, inspired in part by both his earlier pop art years and current events. But following retirement and his retreat to Mousehole, Cornwall in 1996 his artistic focus shifted to the innate beauty of the local landscape and coastal views became his primary focus (lots 154-157).WINDOW 1,2,3each oil on boardeach 14 x 14cm; 5 1/2 x 5 1/2in31 x 65.5cm; 12 1/4 x 25 3/4in (framed as one)Painted in 1979.with the artist's estate number MU0608 on the reverseProvenancewith Contemporary Art Society, LondonExhibitedNew York, Anthony Ralph Gallery, Michael Upton, 1987Held behind glass. Unexamined out of frame. Each stuck to the backboard. No retouching apparent under UV. Possible light time staining, otherwise good condition.
Lot 76
Sir William Rothenstein (lot 76) and Albert Rutherston (lots 77-82)IntroductionRaised in Bradford as two of six children of Jewish immigrants, William and Albert both achieved considerable influence at the very heart of the British art establishment. Amongst their many and remarkable strengths they were painters, printmakers, illustrators, teachers, administrators, gallerists and, in William’s case, an accomplished and prolific writer. William was the first to move south to study under Alphonse Legros at the Slade (1888-89) before attending the Académie Julian in Paris (1889-1893), where he was encouraged by Whistler, Degas and Toulouse-Lautrec and befriended Rodin. Albert followed him a decade later to the Slade, where by then Fred Brown was professor, assisted by Henry Tonks, Philip Wilson Steer and Walter Russell. The youngest student by far, Albert fell in with a gilded set of like-minded spirits, in particular Augustus John and William Orpen. The young trio was dubbed by William ‘The Three Musketeers’. Albert went on to win separate prizes for both drawing and painting and was awarded a Slade scholarship. On his return from France William established himself as a talented portraitist illustrating Oxford Characters in 1896 with twenty-four lithographs. It was one of several collections of portraits depicting men and women of distinction that William would produce. In 1900 William’s painting The Dolls House (after Ibsen’s eponymous play), won a silver medal at the Exposition Universelle in Paris, the same year as his book on Goya was published. Such foreboding influences, however, contrasted with the many happy and light-filled works he produced following his marriage to Alice Knewstub in 1899. For Albert and his fellow ‘Musketeers’ the new century heralded trips to France. There he met Walter Sickert and shared holidays with William, Spencer Gore and Slade teacher Walter Russell. In London Albert thrived on Fitzroy Street and exhibited with William, Sickert, Gore, Russell and Harold Gilman. Sickert recalled their efforts ‘to create a Salon d’automne milieu in London’. Towards the end of the 1910s Albert turned increasingly to decorative designs. In 1911 he collaborated with Roger Fry on large scale murals for Borough Polytechnic and worked on a number of designs for the ballet and theatre. He changed his name to Rutherston in 1916. After the War he married Marjory Holman, taught at Camberwell School of Art, and the Oxford School of Drawing, Painting and Design, and was appointed Master of the Ruskin School of Art (1929-49). A late but important influence in his life was the young model Patricia Koring whom he met in 1938. From the First World War on William’s work revolved around painting, teaching and writing. During 1917-18 he spent six months as an official War artist at the Front (lot 76), and was briefly visiting Professor of Civic Art at Sheffield University. In 1920 he became Principal of the Royal College of Art in London and was knighted in 1931. As well as Goya, among William’s publications were three fascinating volumes of memoirs. William’s sons carved out their own influential paths in the Arts. John (1901-92) his eldest, became director of the Tate Gallery (1938-1964), wrote Modern British Painters (1956) and was knighted in 1952. Michael (1908-1993) became a highly accomplished painter and print maker.SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945)THE CHURCH OF ST GERY, HAVRINCOURTtitled Havrincourt Church lower left and numbered 29 lower right oil pastel over pencil on paper52 x 36cm; 20 1/2 x 14 1/4in85.5 x 63.5cm; 33 3/4 x 25in (framed)Havrincourt was on the battle front during the First World War. By November 1917 the German ‘Hindenburg Line’ crossed through it, and the village was part of the opening phase of the Battle of Cambrai at the end of the month. The second battle at Havrincourt opened in mid-September 1918, and marked the beginning of the German retreat back to the Belgian-French border. The vast majority of the village was destroyed in the conflict, but much was rebuilt following the Armistice, including the church of St Géry. Rothenstein worked alongside Eric Kennington (1888-1960) as a War Artist, recording in his memoires how 'We worked at Cambrai, Bourlon, Moeuvres, Havrincourt, Lesquières - everywhere the fantastic shapes and colours of ruined houses and shell-shocked trees provided a constant stimulus... No work has ever satisfied me so completely as that which I undertook while acting as a British, and later, as a Canadian, Official Artist. (William Rothenstein, Men and Memories, London, 1932, vol. II, p. 361).
Lot 4063
Box of Automobillia including Vanguards die-cast Rover P4 & Rover 2000 TC 1.43 scale, Praesidium melamine John Player Special ashtray, The Clarkson Collection DVD, books, car stamps, Rolls Royce document folder, Challenge Digital Cut Off Inflator, 12 volt DC operation, boxed, as new, never used together with Mercedes -Benz First Aid Kit, never used and other items (qty) Please note this lot has the standard Ewbank's standard buyers premium payable on top of the hammer price and not the reduced rate for cars and motorbikes.
Lot 4056
Sir Stirling Moss signed Mercedes Benz 300 SLR 722 Presentation Display - 1955 Mille Miglia car from a limited edition, 55/722, signed to the bonnet, in original display box and together with the accompanying autographed book "722" the story of Moss & Jenkinson's victory in the 1955 Mille Miglia, also numbered 55/722. 1.43 scale model, Comes with original COA for both signed model and book. Along with Two Books: 'A Turn At The Wheel' Stirling Moss and 'The Racing Driver' Denis Jenkinson.
Lot 4052
Michael Schumacher - Signed Ferrari F 300 F1 model from the MS Collection, 1:18 Scale, Boxed. This was won at a charity auction for the Multiple Sclerosis Society and comes with a letter of authenticity. Please note this lot has the standard Ewbank's standard buyers premium payable on top of the hammer price and not the reduced rate for cars and motorbikes.
Lot 507
Hot Wheels Racing 2006 Ferrari 248 F1 Michael Schumacher 1:18 scale model. Scuff marks on model in original box. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 577
A large collection of packaged diecast model vehicles, to include Vanguards, Great British Buses, Corgi Buses in Britain, Corgi Classics and Exclusive First Editions examples; with a further small quantity of loose models, to include a Sun Star 1:12-scale Morris Minor 1000 in black (2 boxes) Condition Report:Available upon request
Lot 609
A collection of vintage action figures, including Batman, Spiderman and Star Trek examples; together with a boxed Super Cobra arcade game; Burago 1:18-scale Jaguar SS 100 (1937); assorted loose model military vehicles with makers to include Dinky and Lesney; and a quantity of vintage postcards Condition Report:Available upon request
Lot 505
THE ORIGINAL BACHMANN BIG HAULERS - a boxed "G" scale no. 2 caged bear and gorilla carriage, item no. 98372, in original box, and a "G" kit undecorated wooden refrigerator plastic kit, item no. 98902, in original box, and an Aristo Craft Trains 1:29 scale heavyweight passenger car, model no. ART-31608, in original box (3)
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216134 item(s)/page