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Lot 198
GROUP OF WSI MODELS DIECAST LORRIES, 1:50 SCALE including a JHP Transport of Lanark, South Lanarkshire Scania S 580 Highline (6x2) tractor unit with 3 axle refrigerated trailer, limited edition 88/175, a J.G. McWilliam of Huntly Scania 143 topline streamline (4x2) tractor unit and 3 axle curtain trailer, limited edition 162/175, a Pollok Scotrans Ltd Scania S 580 Highline (6x2) tractor unit and 3 axle trailer, limited edition 85/205 and other WSI Models diecast lorries, all boxedQty: 9
Lot 197
GROUP OF WSI MODELS DIECAST LORRIES, 1:50 SCALE including a Shetland Transport livery DAF 2800 tractor unit with box van trailer, limited edition, this model being commissioned to mark the occasion of the company's 30th anniversary, a DAF XF105 Super Space (6x2) tractor unit with 3 axle refrigerated trailer, limited edition 138/155, a Scania Topline T Cab (6x2) twin wheel axle tractor unit with powder trailer in Simon Gibson Transport livery, limited edition 195/205 and other WSI models diecast vehicles, all boxedQty: 9
Lot 199
GROUP OF WSI MODELS DIECAST LORRIES, 1:50 SCALE including a Volvo EH16 750 Globetrotter XL (6X2) with 3 axle curtain sided trailer, customised in Volvo trucks UK's Ailsa Edition livery, limited edition 54/205, a Volvo FH - 500 Globetrotter xl (6x2) tractor unit and 3 axle refrigerated trailer in 50th anniversary livery of McCulla (Ireland) Ltd, limited edition 164/175, a Volvo FH 4 Globetrotter (6x2) with 3 axle curtain trailer, customised in Bowker Groups 100 anniversary livery, limited edition 170/205 and other WSI Models diecast lorries, all boxedQty: 9
Lot 200
GROUP OF WSI MODELS DIECAST LORRIES, 1;50 SCALE including a DAF X5195 super space (6x2) with 3 axle curtain trailer in V G Mathers Ltd livery, limited edition 92/155, a DAF XF Euro 6 space cab (6x2) tractor unit with 3 axle trailer in Carntyne Transport livery, limited edition 118/205, a Volvo FH16 Globetrotter xl (6x2) with 3 axle refrigerated trailer in Gibb's of Fraserburgh livery, limited edition 169/335 and other WSI models diecast lorries, all boxedQty: 9
Lot 196
GROUP OF WSI MODELS DIECAST LORRIES, 1:50 SCALE including a John Mitchell livery Scania R500 (6x2) tractor unit with powder tanker, limited edition 99/155, an Olivers Transport Ltd Scania 500 highside (6x2) with curtain sided trailer, limited edition 30/175, a Drummond Distribution liveried Volvo FH Globetrotter XL (6X2) tractor unit with curtain sided trailer, limited edition 102/175 and other WSI models diecast lorries, all boxedQty: 8
Lot 473
Handbuch der Architektur.: Hrsg. v. J.Durm, H.Ende, H.Wagner, E.Schmitt. 38 Bde. d. Reihe. Darmstadt, Bergsträsser 1895ff. Mit zahlr. Abb. im Text u. auf Taf. Ohldrbde. mit Rtit. (Tls. etw. best. u. berieb., tls. schwach lichtrandig). Großangelegte Enzyklopädie der Architektur. Das von namhaften Architekten und Ingenieuren bearbeitete monumentale Werk gibt einen umfassenden Einblick in die allgemeine Baugeschichte sowie in die Architektur des Historismus und der Jahrhundertwende. - ╔Vorhanden:╗ Teil 1: 1/I u. II, 2, 3, 4, 5; Teil 2: 1, 2, 3/I u. II; Teil 3: 1, 2/I-V, 3/I-III, 4, 6; Teil 4: 1, 2/I-III, 3/I u. II, 4/I u. II, 5/I-IV, 8/I u. 2b, 9, 10. - Papierbedingt tls. etw. gebräunt, sonst sauber. Exlibris. - Large-scale encyclopaedia of architecture. Paper somewhat browned, otherwise clean.
Lot 112
JR (French, born 1983)28 millimètres, Portrait of a Generation, Ladj Ly Offset lithograph in colours, 2006, on laid paper, signed and dated in orange ink, numbered 70/100 in pencil, the full sheet, framedImage 413 x 614mm (16 1/4 x 24 1/8in)Sheet 481 x 681mm (18 7/8 x 26 3/4in)Footnotes:ProvenanceSteve Lazarides Gallery, London.Acquired directly from the above by the present owner.JR is one of the most influential street artists and photographers today. An 'Urban Activist,' he is most famous for his colossal pictures in public spaces, which interact with the cityscape to convey messages of peace, empowerment, and social inclusivity. From Rio de Janeiro to Paris, New York to Ukraine, his work spreads hope for the forgotten ones. '28 millimètres, Portrait of a Generation, Ladj Ly' is part of his first project, set in the Les Bosquets (Montfermeil) residential area in the outskirts of Paris, highly affected by the riots of 2005. In his words: 'This image was my first large-scale pasting using strips created on a large-format printer. We pasted at night and asked kids from the neighbourhood to wait at the bottom of the ladder in order to create a crowd and avoid the police. I was pasting the second strip when we realized we made a mistake. We had to come back the next night! The pasting took eight hours with the help of all the community. Today, a pasting like this would only take us a couple of hours.' The main protagonist of this shot is director and screenwriter Ladj Ly, whose directorial debut film Les Misérables, about life in the Parisian banlieues, became a great box-office success in France in 2019. The film went on to win the Prix du Jury at the Festival de Cannes, and was nominated for the Best Foreign Film at the 2020 Oscars.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 128
Classic Microscopy, A Beck London Model, Microscope English, c.1950, engraved 'LONDON MODEL BECK LONDON 23193', the microscope on heavy 'Y' shaped base, focusing substage with condenser, rotating circular stage with engraved scale, mechanical slide holder, triple objective holder, quick release bodytube and binocular body, with separate monocular bodytube Note: regularly used and serviced by vendor, a very good example of this classic microscope
Lot 241
Hooke, Robert, Micrographia, or some Physiological Descriptions of Minute Bodies made by Magnifying Glasses with Observations and Inquiries thereupon. By R. Hooke, Fellow of the Royal Society, London printed for James Allestry, Printer to the Royal Society and are to be sold at his shop at the rose and crown in Duck Lane. MDCLXVII (1667)Condition: no boards or spine present, text block complete, old damp throughout, minimal to no foxing, edges of pages lightly oxidised, all stitching failed, end papers still present.Plate Count:Plate I – missing Plate II – opposite page 2 Plate III – opposite page 6 Plate IV – Missing Plate V – opposite page 47 Plate VI – opposite page 61 Plate VII – opposite page 82 (loss to edge) Plate VIII – opposite page 88 Plate IX – opposite page 93 (water stain to top and bottom) Plate X – opposite page 107 (water stain) Plate XI – opposite page 112 (water Stain) Plate XII – opposite page 123 (water stain to top) Plate XIII -opposite page 131 (water stain and loose from stitching) Plate XIIII – opposite 141 (water stain) Plate XV – opposite page 142 (water stain to top) Plate XVI – opposite page 163 (water stain) Plate XVII – opposite page 152 (water stain) Plate XVIII – opposite page 153 (water stain) Plate XIX – opposite page 154 (water stain) Plate XX – opposite 156 Plate XXI – opposite page 162 (water stain, chip to edge) Plate XXII – opposite page 167 (water stain) Plate XXIII – opposite page 196 (water stain) Plate XXIV – opposite page 182 (the famous fly’s eyes, no water stains) Plate XXV – opposite page 181 (water stain, tear from corner 7cm)Plate XXVI - opposite page 183 (water stain) Plate XXVII - Opposit page 185 (water stain) Plate XXVIII – opposite page 193 (loose from stitching) Plate XXIX – opposite page 193 (water stain to top, loose from stitching) Plate XXX – opposite page 196 (loose from stitching) Plate XXXI – opposite page 198 Plate XXXII – opposite page 203 (water mark to top left corner) Plate XXXIII – opposite page 204 (loose from stitching) Plate XXXIV – opposite page 210 (the famous flea, tear to fold on bottom right leg, no loss, no water stains) Plate XXXV - missing Plate XXXVI – opposite page 214 Plate XXXVIII – opposite page 245 (tear from top to centre, no loss) Hooke’s Micrographia: or Some Physiological Descriptions of Minute Bodies Made by Magnifying Glasses. With Observations and Inquiries Thereupon. Is an important work by Robert Hooke, delving into his observations through an array of lenses. This historically significant book stands as the first to feature illustrations of insects and plants as observed through microscopes. It marked the first major publication of the Royal Society and swiftly emerged as the pioneering scientific best-seller of its time, sparking widespread fascination with the burgeoning field of microscopy.One of Micrographia's enduring legacies lies in its introduction of the term "cell" to the biological lexicon, inspired by Hooke's examination of plant cells, which bore a resemblance to the compartments of a honeycomb. Through meticulous prose and vivid illustrations, Hooke unveiled the intricacies of nature on a miniature scale, offering captivating depictions of insects and plants as seen through the lens of his microscope.The book's captivating copperplate engravings, notably its fold-out plates showcasing insects, conveyed the awe-inspiring power of the microscope. These plates, extending beyond the dimensions of the large folio, magnified the minute creatures to an astonishing scale, with the engraving of a louse unfolding to four times the size of the book itself. Yet Micrographia goes further than its microscopic prowess; it ventures into diverse realms of inquiry, touching upon topics ranging from distant celestial bodies to the wave theory of light and the organic origins of fossils.Hooke's meticulous observations extended beyond the natural world, encompassing human artifacts such as the jagged edge of a razor and the seemingly blunt tip of a needle under the microscope. Through such juxtapositions, he subtly contrasted the imperfections of human craftsmanship with the innate perfection of nature, echoing prevailing notions of divine creation.Published under the patronage of The Royal Society, Micrographia not only elevated Hooke's stature as a scientist but also bolstered the society's reputation as England's foremost scientific institution. Its enchanting illustrations and illuminating narratives captivated the public imagination, earning accolades from luminaries such as Samuel Pepys, who hailed it as "the most ingenious book" of his lifetime. In its pages, Micrographia unfurls a wondrous panorama of the microscopic realm, forever altering humanity's perception of the infinitesimal world that lies beyond the naked eye.The difference between the 1665 & 1667 editions.Micrographia was first published in 1665, its rapid popularity prompted reprints. This particular edition is a 1667 printing, printed by John Martyn, the Royal Society’s appointed printer. Micrographia, an early cornerstone of the Royal Society’s publications, played a pivotal role in bolstering the Society's reputation, extending its influence beyond the scientific comunity.Although the years 1665 and 1667 might suggest distinct editions, they actually denote different issues of the same edition. A close examination reveals that both were produced from identical typesetting, with the text remaining unchanged across both printings. However, differences arise in the title page and certain particulars of the engraved plates, especially plate 5 which is in reverse in the 1667 print.In the 1665 edition, the title page features red and black printing, a technique not replicated in the 1667 issue, where all letterpress appears in black. Both versions include an image of the Royal Society’s arms, printed from an engraved copper plate. This method was somewhat unconventional, as engraved plates required a separate rolling press for printing. This necessitated a meticulous alignment process to ensure proper registration between the image and the text.Moreover, employing dual-color printing, as seen in the 1665 edition, posed additional challenges, demanding multiple printings. This technique, while capable of producing visually striking results, often struggled to maintain precise registration between the two colours. Consequently, advancements in typography, particularly the development of new "titling" typefaces, gradually rendered the need for dual-color printing obsolete by the eighteenth century.The intricate process involved in combining copperplate imagery with letterpress printing led to its gradual abandonment by the late seventeenth century. Despite its initial allure, the expense and technical limitations associated with this method ultimately contributed to its decline in favor of more efficient printing techniques.
Lot 112
A Watson Petrological Edinburgh Microscope, English, c.1910, engraved to the back of the tripod stand 'WATSON & SONS Ltd, Depot 2 Easy Row Birmingham' and to the side of the foot 'GEOL. BIRM. UNIV. II' for Geology Birmingham University, also engraved 'G.D.B.U.II' to the objective, and polariser, the microscope on typical Edinburgh tripod stand, brass trunnions support the body with the plano-concave mirror in gimbal on a sliding collar, polariser with Nicol prism, engraved scale with pointer, with clip-on condenser lens on focusing substage collar, goniometer stage with engraved scale around circumference with vernier to rear, body tube with slide in/out polariser, slide in /out Bertrand lens on internal collar, eyepiece with cross hairs, height 41cm
Lot 109
An Large & Extensively Equipped Ross No.1 Binocular microscope Outfit English, c.1880, engraved to the rear of the large ‘Y’ shaped foot ‘ROSS, London, 3448’, the microscope with large uprights terminating in trunnions with friction lock to support the main body, with large plano-concave mirror in a gimbal on an articulated arm on a sliding collar, with fully mechanical substage with engraved goniometer scale geared rotation, screw X-Y control on a rack to focus, with large circular mechanical stage with geared rotation engraved scale, mechanical X-Y control, large rectangular sectioned bar with large geared drive to rack for course focusing, bar limb with screw to attach to bar and screw fine focus, thread to accept the binocular body, English monocular tube and continental monocular body tubes, with the following accessories in a large mahogany case: 4” objective & can, 3” objective & can, 2” can, 1” objective & can, 1” can, ½” objective & can, ¼” objective & can, 1/5” objective & can, 1/5” can, 4/10” objective & can, 1/8” can, Double objective holder engraved ROSS, London, Various Leiberkuhns, Binocular eyepieces marked A, Binocular eyepieces marked B, Binocular eyepieces marked C Kellners Orthoscopic, Binocular eyepieces marked D Kellners Orthoscopic, Eyepiecs marked C, E & F, Eyepiece collar, Substage stage attachment, Ross Achromatic substage condenser, Substage polarizer, Achromatic substage condenser, Set of substage selenite filters, Substage Wenham parabolic condenser, Substage spot lens, Substage condenser, Ross compressor, various filters, Stage side reflector, stage forceps Stage condenser, Large table bullseye, All in the original fitted mahogany Case with brass handles and lock, case 52cm tall Note: sold with no reserve
Lot 110
A Polarizing Microscope By Hartnack, French, c.1880, engraved to the sides of the limb 'E Hartnack Palace Dauphine, Paris', the microscope on a heavy lead filled 'Y' shaped base with tall uprights to the rear supporting the underside of the stage on small trunnions, with plano-concave mirror, substage collar on a dovetail mount, square sectioned stage split to rotate around optical axis, limbck' with screw fine focus and push/pull course focus, in a French polished mahogany case with the following accessories: An objective with correction collar engraved to can 'No.9, a immersion E Hartnack' An objective with correction collar engraved to can 'No.12, a immersion E Hartnack' 4 eyepieces. An eyepiece lucida with drawing prism at 90degrees. An eyepiece Goniometer analyser with engraved scale. A substage polariser with Nicol prism. a substage condenser & wheel of stops. A mechanical selenite disk stage with selenites Case width 32cm.
Lot 164
An Unusual Boxwood Gunter Rule in boxwood, 1st half 19th century, signed 'JONES LATE WELLINGTON 1 CROWN COURT SOHO London', front with navigation scales which are engraved 'NAVIGATION SCALES BY B. DOWN' marked Leagues, Rumbs, Chords, Tange, S. Tang, Secants, M.Long & Chor, also engraved along the top edge is a scale marked 'Guns Dia, the the reverse is a scale marked S. Rumb, SC S Sec, V. Sines, Tangent, Meridian, Continued Num Root, Num Cube, and along the top edge 'R. Dist: SC: DEF. SCC . D. LAT', 'SC . MID . LAT . DEF . R . D. LONG', 'SCL . SO . DEC: R . SO . AMP', 'D LAT: DEF: TAN 45 T COURSE', & 'D LAT DEF . MD . LAT . D . LONG' 60cm Condition: nice clear scales, chip to beveled edge 2.5cm longThe Gunter Rule, devised by Edmund Gunter (1581–1626), was devised to streamline mathematical calculations crucial in navigation. This tool was specifically tailored for use alongside a pair of dividers, facilitating computations through the measurement of lengths against various scales. Gunter's innovation, the logarithmic scale, introduced in 1623, underpins the functionality of this rule. Its utility persisted in navigation practices until the 19th century.
Lot 108
An Exceptionally Fine Powell & Lealand "No. 1" Compound Monocular/Binocular Microscope English, dated 1898, signed in script to the top of the bar-limb ‘POWELL & LEALAND, 170 Euston Road, London’, of standard No.1 construction standing on a massive lacquered tripod base with rectangular feet each with cork pads, trunnions to the top supporting the body, with large plano-concave mirror to the base as typically supported on one side at the end of an articulated arm sliding on a collar, above which is the fully mechanical stage with X & Y control via screw and rotation controlled through a crown and gear, with focusing via rack and pinion to the rear, with platinum circular scale and vernier, rotation controlled via a crown and gear mechanism that can be disengaged for quick movement, with large Turrel-type mechanical stage with X-Y control, main course focus to rear of body, bar-limb incorporating fine focus lever mechanism, nose piece with prism blanking plate, limb with threaded boss to accept binocular or monocular tubes, the microscope comes with the following accessories in a mahogany case: Pair of Binocular eyepieces
Lot 81
Three Silver Lancet Cases, a William IV silver lancet case, by Taylor & Perry, Birmingham, 1832, engraved with quatrefoils, with four tortoiseshell lancets – 6.3cm. (length); a Victorian silver lancet case, by George Cowie, London, 1842, engraved with scale work decoration – 6cm. (length); and a 19th Century silver lancet case, engraved with foliage decoration, 6.2cm. (length); and two tortoiseshell lancets Note: The first lancet case was previously bought at Simon Kaye Ltd in 1978. The second and third were previously bought from the museum of James Waler in 1982.
Lot 111
A Fuess Petrological Microscope, German, c.1910, engraved to the rear of the foot ‘R. FUESS, STEGLITZ-BERLIN 1365’, microscope standing on a lacquered ‘Y’ shaped base, lead filled for stability, tall upright supports the body on small trunnions, plano-concave mirror in gimbal on sliding collar, focusing substage collar with substage analyser, with Nicol prism, condenser lens, and iris, nickel plated circular stage engraved around circumference with 2 vernier scales , with swing in/out condenser, centering marks and slide clips, screw fine focus with engraved scale and vernier scale, course focus acting on diagonal rackwork, body with quick change objective holder, centering nosepiece, slide in/out analyser, slide in/out Bertrand lens on focusing collar, goniometer eyepiece with engraved scale and internal Nicol prism, complete with a micrometer eyepiece, marked ‘M’ another eyepiece marked 3, a box of accessories including 3 objectives marked 0, 4 & 7 and a few associated plates, all in the original wooden case, Note: for a similar instruments see ‘The Petrographic Microscope: Evolution of a Mineralogical Research Instrument, by Dan Kile’ p.25 fig. 22 for a very similar instrument.
Lot 176
Negretti & Zambra Weather Watch English, c.1900, engraved to the silvered face 'Negretti & Zambra' , the weather watch pocket barometer with three concentric silvered dials, outer ring indicating pressure, ring for wind direction, center with altitude correction and windows for fall rise and steady, rear of case with letter codes for forecasts, case circumference with altitude correction scale, in velvet lined dark red Morocco case impressed with later gilt lettering for 'W.J.S. 1934, Footnote: responds to plastic bag test, suspension hoop missing, push button to case catch missing Forecasting weather with the Negretti & Zambra Weather Watch - This pocket barometer contains Negretti & Zambras Weather Forecaster, which was patented in 1915 and developed based on real weather conditions observed over a span of ten years. To forecast the weather, you can set the wind direction and align the central disc with the steel pointer on the dial. Adjusting the altitude correction involves rotating the rear cover until the arrow lines up with the appropriate level on the scale engraved on the side of the case. By considering whether the pressure has been rising, falling, or remaining steady, along with the season (summer or winter), you can read the letter that appears within the corresponding sector in the center of the dial. A detailed description of its operation can be found on page 89 of Banfield's book "BAROMETERS Aneroid and Barographs", with an illustration on page 87.
Lot 48
⊕ ‡ ARDASH KAKAFIAN (IRAQI 1941-1999) SENSE OF BELONGINGacrylic on canvas, in two parts184 x 306cm; 72 3/8 x 120 1/2in (framed)Painted circa 1990Property of a Private Collector, The NetherlandsProvenanceCollection of the artistThence by descent to the present ownerBorn in Mosul, Kakafian was the youngest member to be accepted into the Baghdad Modern Art Group and went on to exhibit extensively in both Baghdad and Paris, having studied at the Ecole des Beaux Arts in Paris. His work spanned many genres including expressionism, Chinese inkwork, miniature paintings and political propaganda for which he spent time in prison. Much of his work is influenced by his personal experiences as well as impressionism and al Wasiti miniatures and he is described by Ahmed Morsi as an 'explorer of a self-diaspora' and 'an eloquent mesh of personal architecture and poetry' (Exh. Cat., Washington D.C., Alif Gallery, Ardash, 1986). This work portrays a sense of pain and sadism which is further heightened by the scale of the canvas.
Lot 36
ALI BAYOUMI (EGYPTIAN 1955-2019) FLOWERS NO 2signed and dated in English and Arabic ALI BAYOUMI '89 lower rightwatercolour on paper54 x 44.5cm; 21 x 17 1/2in57 x 48cm; 22 1/2 x 19in(unframed)Property from a Private Collection, LondonProvenanceDr Mohammed Said FarsiAcquired from the above in 2013 by the present owner LiteratureDr Sobhy Al Sharouny, A Museum in a Book, Cairo,1998, p. 365, illustratedAn accomplished and prolific artist, Ali Bayoumi entered Alexandria University's Faculty of Architecture in 1973, graduating with honours in 1978. He went on to earn a Masters degree in 1985 and his PhD in 1993. He collaborated with Dr Mohammed Said Farsi (then mayor of Jeddah), who commissioned him to design 22 large scale sculptures for his renowned public art project in the city.Bayoumi's paintings can be found in the King Abd El Aziz University and the Saudi National Bank in Jeddah, whilst his murals adorn Alexandria's train station and the entrance to the Mahmoudia Canal. Many of his paintings are also in private collections in Egypt, Kuwait, Germany and the United States.
Lot 3123
Toys & Juvenalia - a Road Signature Collection 1:18 scale 1947 MG TC Midget, boxed; a Bburago Diamonds 1:18 scale cod.3005 Bugatti Type 59 (1934), boxed; an Anson Metal Series 1:18 scale article no.30317-W Lotus Super Seven 1957-1973 Caterham Super 7, boxed; other models, unboxed (quantity)
Lot 1186
A George III silver novelty fish vinaigrette,possibly by Samuel Pemberton, Birmingham 1817,reticulated body, engraved scale decoration, the hinged head opens to reveal an engraved foliate pierced silver-gilt grille, with a fitted case, length 7.4cm, approx. weight 0.3oz.Provenance:A Private Collection.
Lot 1139
A George III silver caddy spoon, by Cocks and Bettridge, Birmingham 1809, engraved decoration, pierced gallery, the handle with fish-scale decoration, plus another by the same maker, same date, rectangular bowl, engraved decoration, approx. weight 0.4oz. (2)Provenance: A Private Collection. Purchased from Woolley and Wallis, Salisbury, The John Norie Collection of Caddy Spoons,- Part II, 28 July 2004, lot 336.
Lot 714
Reprinted boat and ship plans, to include SS. Titanic 401 rigging plan, scale 12th inch = 1 foot, HMS Hospital Ship no. 65, T. S. Duke of Argyle, 120 x 85cm, three deck plans for SS Duke of Cumberland and Duke of Argyle, scale 1/4 inch = 1 foot, and four sets of plans T. S. Londonderry, no. 727, scale 1/4 inch = 1 foot, in three tubes (8).
Lot 703
A large unusual scratch-built matchstick scale model of a WWI single-funnel battleship, with applied plaque to each side of the rear of the vessel 'Ajax', on simulated waves, in a mirror-backed teak glazed case, raised on square section supports, 73 x 162 x 31cm.Condition Report: - The mirror-back panel has a crack to the upper right corner. The case itself is rather flimsy, but the model contained within appears to be in overall good condition.
Lot 590
PABLO PICASSO (Spanish 1881-1973) designed screen-print furnishing textile, 'Sketchbook', produced by Bloomcraft Inc. 1963, length 80" by selvedge to selvedge width of 49"Provenance: Target Gallery letter/invoice dated June 2016, signed Richard Chamberlain, private collection West WalesAuctioneers Notes: 'In 1963 the New York based company Bloomcraft collaborated with Picasso to produce a series of dazzling furnishing textiles. 'Sketchbook' featured the interior of Pablo Picasso's studio at La Californie', his home in the south of France, and was produced on a large scale repeat aimed at the exclusive American decorators market.' Richard ChamberlainComments: unused
Lot 13
An 19th century larger scale bisque shoulder head dolls’ house doll, with pale blue painted eyes, red eyelid line, light brown brow, part exposed ear with gold painted earrings, blonde painted and moulded hair swept back across the ears, held by a moulded black and gold hairband held by a pink rose, shoulders with moulded black necklace with gilt crucifix, stuffed body with bisque limbs and pink painted heeled boots, original brown floral printed cotton dress and blue petticoat both with red cord trim —7 ¼in. (18.5cm.) high
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216134 item(s)/page