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Lot 123
1926 Essex Super Six Transmission: manualMileage:96076In 1919, Hudson introduced the Essex brand, designed to compete with Ford and Chevrolet as opposed to the more up-scale Hudson line. The Essex found great success by offering one of the first affordable saloons and combined Hudson and Essex sales moved from seventh in the US to an amazing third by 1925. At their peak in 1929, Hudson and Essex produced a combined 300,000 cars in one year including contributions from Hudson's other factories in Belgium and England; indeed, a factory had been built in 1925 in Brentford, London. Essex pioneered low-cost closed coachwork in the US, its four-seater saloon being only slightly more expensive than the tourer in 1922 and marginally cheaper by 1925. Essex's big news for 1924 was the switch from four to six-cylinder engines. The new side valve power unit started unusually small for the US at 2.1 litres before being enlarged to 2.4 litres. Renamed 'Super Six' in 1926 the Essex gained a larger engine and four-wheel Bendix mechanical brakes the year after. Stylistically, the Essex looked broadly similar to its Hudson parent, albeit on a smaller scale.This lovely 1926 Essex Super Six was built at the UK factory in Brentford just outside London and then shipped to New Zealand, where it remained and was restored to a very high standard, fitted with artillery wheels it had indicators fitted to comply with New Zealand laws. It returned and registered to the UK in 2013. In recent years it has been fully maintained and an electric fuel pump fitted to help easy starting. Finished in cream with dark blue interior and retaining the original dark blue headlining, this very good Essex Super Six is supplied with a V5 registration document and is an ideal, reliable car for using in historic rallies such as the Gordon Bennett Irish Classic Run.
Lot 107
2003 Mercedes-Benz SLK 320 Transmission: automaticMileage:60035At start of the 1990s, after the introduction of their two-seat, grand-tourer R129 SL and the Mazda MX-5, Mercedes-Benz set out to create a new compact roadster, slotted below the SL. By late 1991, under Bruno Sacco, the first design sketches were drawn up and scale models were built in the first half of 1992. Massively successful in its first year, worldwide sales hit 55,000, over double the entire nine-year production of 190 SLs and between 1996 and 2004, over 311,000 SLKs were sold. The roof design consists of a folding steel hardtop with both halves linked by a mechanism which is locked securely when the roof is closed. At the touch of a button on the centre console, a hydraulic system controls the fully automatic folding process in which the boot lid is also integrated.This very good, 2003 Mercedes-Benz SLK 320 was first used at a Mercedes main dealer, Hughes of Beaconsfield as a demonstration car being purchased by the current lady owner directly from them in December 2004. Powered by a 3.2 litre V6 engine, the SLK 320 delivers impressive performance, producing 215bhp. This engine, paired with a smooth and responsive automatic gearbox, enabled the SLK 320 to accelerate quickly and deliver a dynamic driving experience. This car has only covered 60,000 miles from new and has been regularly serviced, mostly by Mercedes main dealers with the last major service carried out in April of this year at a cost of £1,200. Finished in brilliant silver metallic with Anthracite leather interior, this SLK 320 is supplied with a V5C registration document, an MoT test certificate which expires in November 2023 and a file containing all the maintenance invoices and the original bill of sale. These small Mercedes represents excellent value for money and are ideal for the summer months with the roof down.
Lot 49
Keith Haring (1958-1990), Watercolor Painting Image Size: 10 5/8 by 8 1/4 inches (27 by 21 cm) All measurements are approximate. Signed and Stamped on the Certificate Keith Allen Haring (May 4, 1958 - February 16, 1990) was an American artist whose pop art emerged from the New York City graffiti subculture of the 1980s. His animated imagery has "become a widely recognized visual language". Much of his work includes sexual allusions that turned into social activism by using the images to advocate for safe sex and AIDS awareness. In addition to solo gallery exhibitions, he participated in renowned national and international group shows such as documenta in Kassel, the Whitney Biennial in New York, the Sao Paulo Biennial, and the Venice Biennale. The Whitney Museum held a retrospective of his art in 1997. Haring's popularity grew from his spontaneous drawings in New York City subways-chalk outlines of figures, dogs, and other stylized images on blank black advertising spaces. After gaining public recognition, he created colorful larger scale murals, many commissioned. He produced more than 50 public artworks between 1982 and 1989, many of them created voluntarily for hospitals, day care centers and schools. In 1986, he opened the Pop Shop as an extension of his work. His later work often conveyed political and societal themes- anti-crack, anti-apartheid, safe sex, homosexuality and AIDS-through his own iconography. Haring died on February 16, 1990, of AIDS-related complications. In 2014, he was one of the inaugural honorees in the Rainbow Honor Walk in San Francisco, a walk of fame noting LGBTQ people who have "made significant contributions in their fields". In 2019, he was one of the inaugural 50 American "pioneers, trailblazers, and heroes" inducted on the National LGBTQ Wall of Honor within the Stonewall National Monument in New York City's Stonewall Inn. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
Lot 417
* Charger. A late 19th century Italian maiolica style charger, decorated in the traditional colours with a young man and a scroll inscribed 'A Fide Amori', within a floral and scale border, the base inscribed 'Deruta', hairline crack and other areas of wear, 35 cm diameterQTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK.
![Details model of 'The Wallace Monument, Abbey Craig Stirling Scotland' Scale 1:200. [31.5cm high]](https://cdn.globalauctionplatform.com/9911fece-a01f-46c6-a588-b03f00b77271/a2fdaab1-6b25-45b1-af92-b03f0118520d/468x382.jpg)
Lot 336
A Quantity of Mainly 19th Century Pottery and Porcelain, including a pair of Royal Worcester candle snuffers, large Coalport style potpourri jar, Staffordshire figures, Coalport quatrefoil tray with a landscape vignette, Samson scale blue teawares after Worcester and a Middlesboro Pottery plate (two trays)
Lot 85
Two WWII Model Airplanes Two model WWII aircraft to include a 1:24 scale Airfix Messerschmitt Bf 109e plus a 1:48 scale Trumpeter Wellington Mk. IIIBoth kits are complete and unstarted. There is no photo of the inside of the Airfix Messerschmitt box as it still has the original cellophane wrapping.
Lot 31
Six unboxed OO gauge Bachmann locomotives Six unboxed OO gauge Bachmann locomotives to include a 41-0658-A4 HO scale Norfolk & Western 4-8-4 locomotive and tender, a Bachmann HO 11323 GS4 4-8-4 War Baby Southern Pacific Railroad 4454 locomotive and tender, Bachmann Branchline 31-154 Class 5XP Jubilee 4-6-0 5721 'Impregnable' in LMS crimson (no tender), Bachmann Branchline 31-477DC Class G2A Super D 0-8-0 49361 in BR black (DCC on board), Bachmann BR 2-8-0 Weathered No. 90630 Locomotive and tender plus a Bachmann Branchline 31-011 Class 7F 2-8-0 53809 in BR black.
Lot 41
DeAgostini 1:8 scale 1967 Ford Mustang Shelby GT500 DeAgostini 1:8 scale 1967 Ford Mustang Shelby GT500, hand-built model, in dark blue and white61cm longGood overall condition, one wheel is loose, the wheel may have been repaired or poorly installed as it doesn't sit quite right. Surface dirt and grime.
Lot 1249
An early Victorian mahogany stick barometer, the dial with vernier scale and inscribed 'C.W. Dixey Optician to the Queen 3 New Bond St London', the bowfront case with moulded pediment above a glazed panel and thermometer panel to trunk, height 94.8cm (lacking thermometer, replaced cistern cover). Note: Charles Wastell Dixey is a recorded London barometer maker, working from his New Bond Street address between 1825 and 1860.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
![* Vasi (Giuseppe, 1710-1782). Prospetto del 'Alma Cittá di Roma visto dal Monte Gianicolo, 1765 [or slightly later], the comp](https://cdn.globalauctionplatform.com/8f89f8bc-16e9-487b-9e12-b03600e8e973/4810b198-375a-49eb-9c1c-b03800b4635b/468x382.jpg)
Lot 34
* Vasi (Giuseppe, 1710-1782). Prospetto del 'Alma Cittá di Roma visto dal Monte Gianicolo, 1765 [or slightly later], the complete, monumental etched panorama of the city of Rome, on 12 sheets of wove paper (six large and six smaller sheets), later linen backing, with margins, some dust soiling and light toning, small semi-circular waterstain to upper right, overall sheet size 104.5 x 264.5 cm (41 1/4 x 104 1/4 ins), 19th century gothic-style heavy wood frame, glazing in three sections (requires cleaning), frame size 132 x 292.5 cm (52 x 115 1/4 ins)QTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK.A remarkable large-scale panorama of Rome looking north-east, dedicated to Charles III of Spain, who had recently abdicated the Sicilian throne. Vasi was Sicilian by birth, having been born in Corleone and educated in the Collegio Carolino in Palermo. After leaving Sicily Vasi settled in Rome, where he studied under Sebastiano Conca, Pier Leone Ghezzi and Filippo Juvarra. From 1747 and 1761 Vasi produced ten volumes of views of Rome entitled Delle Magnificenze di Roma antica e moderna. The artist depicts himself in the panorama sketching in the left foreground.To the lower margin the artist has placed an index (Indice delle cose notabili diviso in otto giornate), listing 390 monuments and sites, the numbering of which correspond to those in the guidebook that Vasi published in the same year Indice istorico del gran prospetto di Roma... ovvero itinerario istruttivo per ritrovare con facilita? tutte le antiche e moderne magnificenze di Roma (1765).
Lot 202
* De Morgan (Evelyn, 1855-1919). Blindness and Cupidity Chasing Joy from the City, circa 1897, gold coloured pastel and black chalk on dark grey-brown wove paper contemporaneously laid down on backing board (probably by the artist), depicting the robed female figure of Cupidity, carrying a hoard of precious objects, reaching out towards and following the male robed figure of Blindness, the two figures driving out the angel of Joy from the city towards an iron gate with flowers and vista beyond, some small patches of surface abrasion, and a few fox spots to lower edge, 40 x 59 cm (15 3/4 x 23 1/8 ins), framed and glazed (46.5 x 65.3 cm) QTY: (1)NOTE:Provenance: Clayton-Stamm Collection.One of a very small number of works by the artist executed in gold on dark wove paper. Apart from one such study in Leighton House Museum ('Victoria Dolorosa'), almost all other known studies in gold pastel are held by the De Morgan Foundation, and only one, to our knowledge, has ever before appeared at auction ('The Angel of Death', Dominic Winter Auctioneers, Fine Art Sale, 8th November 2018, lot 458). Only a very few artists used this technique, Edward Burne-Jones being one of them. De Morgan bought dry 'cakes' of gold pigment which she ground to make her own paint and pastels, using them to infuse light and warmth into her works. The De Morgan Foundation (DMF) states "These curious artworks are unlike works by any other artists of the period", adding that they "sparkle with a rare luminosity". These studies seem in the main to have been part of De Morgan's prolific and meticulous output of detailed compositional studies for the full-scale oils she executed, although as the DMF says "These pieces can be considered works of art in their own right and it is apparent that Evelyn often sold them as such".The current work is a preparatory study for Evelyn De Morgan's large-scale allegorical oil 'Blindness and Cupidity Chasing Joy from the City', painted in 1897, and now in the DMF (object number P_EDM_0018; Evelyn de Morgan Oil Paintings, DMF, plate 35). The oil painting was exhibited at the Walker Art Gallery in 1898, at Leighton House in 1902-3, and at Wolverhampton in 1907. The two figures of Blindness and Cupidity are chained to each other, and grope their way forward to an iron gate which blocks the way, a theme which De Morgan returned to at the end of her career in 'The Barred Gate' (circa 1918-19). Both pictures, and a number of others by the artist, convey a powerful message about the spiritual desolation of a life devoted to the corrupting influence of materialism and greed.Evelyn de Morgan's wealth of preparatory drawings give the viewer a fascinating insight into the workings of the artist's mind. Of particular interest here is the figure of Cupidity, who is clearly female in the drawing, but which has morphed into a very much more androgenous figure in the oil painting, with a still feminine figure, but more masculine features (indeed, stated as male in the DMF catalogue online). The figures are obviously the artist's main preoccupation here, with the gate and vista to the right not yet delineated, the dynamic attitudes of the dogs yet to be worked out - their presence only alluded to in outline - and various architectural elements only sketchily outlined or absent. Indeed, this approach is typical of Evelyn's studies in gold; the background detail is pared away, and the figures, in all their beauty, come into stark relief.
![* De Jode I (Pieter, 1570- 1634). The Last Judgment, after Jean Cousin the Younger, 1615 [but later], engravings, eleven (fro](https://cdn.globalauctionplatform.com/8f89f8bc-16e9-487b-9e12-b03600e8e973/89b99ab0-2586-435e-b5c4-b03800b45a4a/468x382.jpg)
Lot 19
* De Jode I (Pieter, 1570- 1634). The Last Judgment, after Jean Cousin the Younger, 1615 [but later], engravings, eleven (from the set of 12) plates, comprising all nine of the main engraved scenes and two (of three) engraved plates of text, re-issued by Pierre Drevet (1663-1738), Paris, circa 1730, very good impressions on laid paper with margins, the sheets with overall toning, image size 47.8 x 40.3 (18 3/4 x 15 7/8 ins), sheet size 59.8 x 42.8 cm (23 1/2 x 16 7/8 ins)QTY: (11)NOTE:Hollstein 83.First published in 1615, after The Last Judgement by Jean Cousin the Younger (1522-1593), an oil on canvas measuring almost five feet square, originally in the Church of Vincennes, and now housed in the Musée du Louvre, Paris. This set was published after 1726, the year the print publisher and graveur du Roi Pierre Drevet (1663-1738), who had acquired the plates, moved to the Palais du Louvre. The Resurrection of the Dead is inscribed with his address. The plates are intended to be placed together to form one continuous large-scale scene, pasted together three across and four down: at the top God in judgement amid Saints, martyrs and angels; in the centre, devils raising the dead in a city that is being destroyed by thunderbolts; in the foreground, angels and devils disputing the fate of the risen dead; and along the bottom Bibical texts and dedication.
Lot 320
* Collins (Elisabeth, 1905-2000). White Figure in the Mountains, 1988, gouache on card, signed lower right, 24 5 x 31 cm (9 5/8 x 12 1/4 ins), framed and glazed, with Albemarle Gallery label to verso, giving details of the work, and a small printed label with the number 40QTY: (1)NOTE:Provenance: Collection of the artist Leonard McComb (1930-2018).Exhibited: Elisabeth Collins : gouaches, drawings and sculpture, London: Albemarle Gallery, 3 May-2 June 1989, number 40.For much of her life the devoted supporter of her husband, the artist Cecil Collins (1908-1989), Elisabeth Collins is known for her small-scale gouache paintings. Colourful, poetic fantasies, her pictures depict a dreamlike world, once described as being from 'the Eastern European fairy-tale province of her imagination'.
Lot 363
* Melehi (Mohamed, 1936-2020). Composition, circa 1980s, cellulose paint and spray paint on thick wood panel, of a wave motif in yellow, pink and purple on a dark blue background, with original printed label to verso of Art and Design Consultants label with 'artist: Melehi, reference number: 55, dimensions: 400 cms L x 236 cms H and specifications: enamel steel' in manuscript to verso, some minor chips to lower edge, 29.5 x 45 cm (11 5/8 x 17 3/4 ins)QTY: (1)NOTE:The present work may have been submitted as a small-scale sample for the large mural by Mohamed Melehi commissioned by Jeddah Airport in the 1980's. The label to verso refers to the suggested size of the completed work: 4 metres x 2.36 metres.Melehi was born in Asilah, Morocco, in 1936. He studied at the Ecole des Beaux Arts in Tétouan in Morocco from 1953–1955, and in Seville, Madrid, Rome and Paris before crossing the Atlantic to Minneapolis and New York, spending time at Columbia University with a Rockefeller Foundation scholarship. He returned to Morocco in 1964 and was an influential teacher at the School of Art in Casablanca as well as a founder member of the ‘Casablanca group’ of artists that included Farid Belkahia and Mohamed Chabâa. He was also arts director at Morocco’s Ministry of Culture (1985–1992) and a cultural consultant at the Ministry of Foreign Affairs and Cooperation (1999–2002). His work has encompassed being a publisher, graphic designer, sculptor, painter, muralist, teacher, organiser of exhibitions and festivals. He is regarded as a major figure of postcolonial Moroccan art and of modernism in the Global South.
Lot 364
* Melehi (Mohamed, 1936-2020). Composition, circa 1980s, cellulose paint on thick wood panel, of a wave motif in orange and grey colours on a light blue background, with original printed label to verso of Art and Design Consultants with artist: Melehi, reference number: 53, dimensions: 400 cms L x 236 cm H, and specifications: enamel steel in manuscript to verso, a few minor surface marks, 29.7 x 45 cm (11 5/8 x 17 3/4 ins)QTY: (1)NOTE:The present work may have been submitted as a small-scale sample for the large mural by Mohamed Melehi commissioned by Jeddah Airport in the 1980's. The label to verso refers to the suggested size of the completed work: 4 metres x 2.36 metres.Melehi was born in Asilah, Morocco, in 1936. He studied at the Ecole des Beaux Arts in Tétouan in Morocco from 1953–1955, and in Seville, Madrid, Rome and Paris before crossing the Atlantic to Minneapolis and New York, spending time at Columbia University with a Rockefeller Foundation scholarship. He returned to Morocco in 1964 and was an influential teacher at the School of Art in Casablanca as well as a founder member of the ‘Casablanca group’ of artists that included Farid Belkahia and Mohamed Chabâa. He was also arts director at Morocco’s Ministry of Culture (1985–1992) and a cultural consultant at the Ministry of Foreign Affairs and Cooperation (1999–2002). His work has encompassed being a publisher, graphic designer, sculptor, painter, muralist, teacher, organiser of exhibitions and festivals. He is regarded as a major figure of postcolonial Moroccan art and of modernism in the Global South.
Lot 15
* Edelinck (Gérard, 1640-1707). The Battle of Anghiari, after Peter Paul Rubens after Leonardo da Vinci, circa 1657-1666, engraving on laid paper with watermark Initial A, a very good impression of the third (final) state, with narrow margins on three sides, trimmed on the platemark at bottom, in very good, well preserved condition, plate size 450 x 610 mm (17 3/4 × 24 1/16 ins), sheet size 460 x 615 mm, unframedQTY: (1)NOTE:Robert-Dumesmil 44.Edelinck's dramatic engraving depicts the Battle of the Standard, the central section of an ambitious mural by Leonardo commemorating the Florentine victory over the Milanese army during the Battle of Anghiari in 1440, in the Sala del Gran Consiglio (Great Council Hall) of the Palazzo della Signoria in Florence, facing which was another fresco by Michelangelo on the Battle of Cascina. Prior to their execution both Leonardo and Michelangelo's full-scale preparatory cartoons were exhibited and much admired by younger artists and acclaimed by Benvenuto Cellini as a "school for the world" (scuola del mondo). Neither work now exists. Only a few extant autograph sketches and drawings document Leonardo's design, although the battle composition is preserved in later copies such as Rubens' drawing now at the Louvre (from which Edelinck's print is derived), as well as the Ruccellai drawing reproduced in Niccolo Pagni and Giuseppe Bardi's Etruria Pittrice (1791-95).
Lot 332
Miscellaneous die-cast vehicles, including a Corgi Major Massey Ferguson "780" Combine Harvester (boxed), Corgi Ford 5000 Super Major Tractor with hydraulic scoop, Britains Ltd 1:32 scale Hay Baler (boxed); Britains Ltd 1:32 scale Manure Spreader; Britains Ltd Harley Davidson; Britains Ltd Rear Dump together with a quantity of diecast vintage cars.
Lot 398
Three Burago 1:18 scale diecast cars: Ferrari 250 Testa Rossa (1957), Bugatti Type 59 (1934), Chevrolet Corvette (1957), three Burago 1:24 scale diecast cars: Ford AC Cobra (1965), Jaguar XK120 Roadster, Chevrolet Corvette (1957) and an Italian Collezione Classico Ferrari 1950 250 Testa Rossa, all boxed. This lot continues with a quantity of unboxed Matchbox, Years Gone By and Vanguard diecast cars, buses and trucks approx 50.
Lot 441
A pair of Royal Worcester bottle vases with moulded floral and scale design highlighted in gilt. Decorated with floral bouquets and sprays, date marks for 1901 number 2088 and retailer stamp for Phillips's Mount St, height 14cm. One vase has a minute rim chip, both have a few minor losses on the applied floral and foliate sprays, slight gilt rubbing, one has some staining on the underside and both are a little grubby, please see extra images online.
Lot 575
An unusual Bow scale moulded and blue painted porcelain coffee cup. Circa 1760, the handle with leafy terminals, height 6cm.Some slight internal pitting and discolouration, with a rough glaze blemish in the bottom. There is a minute chip on the inner foot rim, a little kiln debris and crazing. The handle joint has a tiny firing crack.
Lot 114
TWO SMALL CHINESE CERAMIC JARS, YUAN / MING DYNASTY. To include a blue and white crackle jar decorated with deer on a scale ground; Together with a crackled celadon glazed jar with twin looped handles at the neck. Approx. 9cm wide. (2) Slight nicks around the rim and foot of the blue and white jar. Otherwise in good condition with no major damages or repairs.
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