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Click here to subscribeMaisto, Revell and other 1/18th scale assorted Cars - to include; Maisto Special Edition Jaguar XJ220 - silver, Minichamps McLaren F1 - silver, Maisto Lamborghini Diablo, Audi R8R, Revell Alfa Romeo Spyder & Bburago Jaguar SS100 - have been on display and may require cleaning/loose parts otherwise appear Fair to Excellent (Some models do have damage) in Fair to Good (dusty) window boxes. (6)
Airfix - a boxed pair of 1/24 Scale plastic Military Aircraft Kits comprising of A50167 Hawker Hurricane Mark 1 along with A12001A Supermarine Spitfire Mark 1A. Both kits although not checked for completeness both appear to be unbuilt and parts still bagged and come in generally Good outer pictorial lift off lid boxes. (2)
Lledo Vanguards - a boxed 1/43 Scale Diorama group to include PD1002 a Rover 2000 along with a Jaguar XK120 "Renfrew & Bute Constabulary" complete with diorama, RD1002 Ford Classic 109E 2-Piece Set complete with Brands Hatch diorama, RD3002 Ford Anglia and Hillman Imp Racing Set complete with racing diorama along with RD2001 Mini Cooper complete with racing diorama. All contents do generally appear to be Good Plus to Excellent although not checked for completeness and are all in generally Good outer pictorial boxes and Good inner polystyrene packaging. (4)
Britains, Corgi, Matchbox, Dinky, Airfix & similar - a Military & other lot comprising of a large quantity of diecast and plastic constructed Military Vehicles along with a large quantity of metal and lead loose and boxed Military figures along with a quantity of plastic constructed Farm, Zoo and similar animals to include a Dinky Toys Military Vehicle Armoured Personnel Carrier, a Britains German Kubel Wagen, a Matchbox Battle Kings K-107 155mm Howitzer Field Gun along with others. Also as stated in this lot is a large quantity of mainly unboxed but some boxed Military figures such as 3 boxed figure sets comprising of Airfix 1/32 Scale S.A.S. x 2 along with an Airfix 1/32 Scale German Paratroops along with a large quantity of Britains (Detail) and others which includes German Military Soldiers, British Military Soldiers, Cowboys, Indians and others along with also as stated a large quantity of plastic Zoo, Farm and similar animals. Conditions all generally range from Poor to Fair. (large quantity - 3 cardboard boxes)
Lledo Vanguards - a boxed group of 1/43 and 1/64 Scale models to include a VA06804 a 1/43 Scale Hillman Minx IIIA in embassy black, a VA01118 a 1/43 Scale Morris Minor Van "Oxford Motor Services" along with others. Please note there is duplication in this lot - please see pics. Conditions all generally appear to be Excellent to Near Mint although not checked for completeness and are all in generally Good outer pictorial lift off lid boxes. (7)
Interesting scale model of The Royal Yacht Britannia, built in 1957 to the scale of 1:90 from the actual Naval plans and specifications of the yacht by the vendors father Chief Shipwright S.W Harris, who served on the Royal Yacht during the world voyage of that year, of wooden construction and painted in the very same paint used on the yacht of the time, fully ballasted with the capacity for a radio controlled engine (none installed), 4’6” long - **Sold with extensive accompanying ephemera and photographs of the ship and crew including Harris with members of royalty aboard the Yacht, full crew portraits with Princess Anne, sharing a drink with the Duke of Edinburgh, a photograph of the model on board the yacht 1956-1957, various invites and programmes of official events, several of Harris' notebooks etc.
Claude Henry Buckle RI, RSMA (1905-1973) - the Bell Foundry with men working on large bells, light streaming in from a window nearby, signed, watercolour, 19.5" x 24.5" **He worked for J.S. Fry & Sons, chocolate manufacturers in Bristol as an assistant architect. During this time with Fry's, he was involved in the building of a new factory at Keynsham, Somerdale and was supported by Fry's to study architecture at Bristol University. In 1926, at the age of twenty-one, Buckle moved to London and joined Wallis, Gilbert and Partners and became responsible for building the Ford factories at Dagenham. He became one of the youngest amateur members of the British Savages Art Group based in Bristol. He travelled to France, Spain and North Africa and later became responsible for designing railway posters, he was a close friend of Terence Cuneo, both artists have surviving artwork in The National Railway Museum in York. From 1958 onwards, he became a member at The Royal Institute of Painters and Watercolours and a member of the Federation of British Artists as well as a member of the Marine Society and exhibited works at the London Boat Show Full-scale lithographic reproductions were distributed to high street retailers including Fenwick in London, he also held exhibitions of his work in Marlborough, Wiltshire, and London in his studio at Vernham Dean, it is said that the artist produced an estimated three hundred watercolour paintings. In appreciation of Claude Buckle's career, Terence Cuneo, paid tribute to Buckle's style of painting. His work can be seen at National Railway Museum, Kirkcaldy Museum and Art Gallery, Birmingham Museums Trust *The work is contained within a gold leaf plaster and wooden frame
Zanele Muholi (South African, born 1972)Ngizwile, 2021 signed, titled and dated 'Zanele Muholi/ Ngizwile/ 2021/ 120x180cm/ ZM' (verso)acrylic on canvas 180 x 120cm (70 7/8 x 47 1/4in).(unframed)Footnotes:ProvenanceAcquired directly from the artist's studio;A private collection.In an exciting evolution from their iconic series of photographs, the present work by Zanele Muholi displays another side to the artist's dynamic and endless creativity. As a visual activist, championing black and LGBTQIA+ lives and voices, key themes of the artist's life and work embody power, reclaim, and presence. This is clearly supported in Muholi's artistic and business life, founding the Inkanyiso media forum and creating dynamic works of art championing the existence of their community.Ngizwile, 2021 displays a large-scale portrait, coherent to the monochromatic tendencies of the artist's photographs, yet decidedly different given the red paint use on the ambiguously gendered subject's eyes. The free brushstrokes allow a vivacious freedom and movement in the work, providing us with a near metaphysical presentation of the subject. Created during the Covid-19 pandemic, it could be argued that this painting characterises the fear and isolation felt by many. In the same way that the artist responds to discrimination of the marginalised communities in their oeuvre, the present work displays their response to navigating the complexities and challenges faced by society in the new world that the pandemic has created.For further information on this lot please visit Bonhams.com
Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)The Seventh Knot, 1969 signed and dated 'Y GRILLO/ 69' (lower left); inscribed '22/ THE SEVENTH KNOT/ OIL ON BOARD BY/ Y.A GRILLO 1969' (verso)oil on board 121 x 75cm (47 5/8 x 29 1/2in).(framed)Footnotes:ProvenanceAcquired directly from the artist in 1969;Thence by descent to the current owner. Arguably one of the most prominent post-colonial modern artists and advancer of the subject, Yusuf Grillo's (1934-2021) influential and meticulously executed oeuvre encapsulates the vivaciousness of modern Lagos life. The Seventh Knot (1969) is characteristic of some of Grillo's most famous and successful work, yet prominent in its dynamic composition and scale. As a key figure of the Zaria Art Society, Grillo, and his contemporaries such as Demas Nwoko, Uche Okeke and Bruce Onobrakpeya, directed the trajectory of what post-colonial African art would look like. Coining the term 'natural synthesis', Uche Okeke presented the ideology of Modern West African art as an informed incorporation of pre-colonial and Western art motifs, displaying an evolvement in subject matter, medium, and execution. Challenging colonial interference which attempted to eradicate pre-colonial practices and depictions, the society aimed to take ownership of their culture, history, and art. In Grillo's view, he criticised the nationalist efforts made by some post-colonial artists to out rightly reject the impact colonisation had as to do so would consciously limit instinctive creative intuition within artistic practice. The priority for Grillo, was to produce work with a heightened emphasis for the process of painting itself and vigorous study of palette and form. 'This politically desirable aim often forms the philosophy of many a contemporary artist, with the sad result that sincere creative urges are replaced by over consciously chauvinistic syntheses.' Yusuf A. Grillo,'Appreciations of Felix Idubor', African Arts 2:1 (autumn 1968), p. 33.Characteristic of some of the most successful pieces of Grillo's oeuvre, The Seventh Knot (1969) displays the geometrical forms and shapes that acknowledge Grillo's love of mathematics, a theme that has been stimulated in a wide body of the works created by the artist. This abstraction technique presents us with a female raising both arms behind her head, seemingly with effort to assemble her head piece. Following his education at the Nigerian College of Arts, Science and Technology in Zaria in 1951, Grillo was fascinated not only by the visual aesthetic that these planes of colour could achieve but also the way they could convey a metaphysical world beyond realistic notions of painting was quintessential of Grillo's creative process. Here, we can see these bold geometric planes differentiated by thick black brushstrokes and varying tones of blue and purple, creating the movement and dynamism throughout the work. This work may be compositionally reminiscent of a figure in Pablo Picasso's Les Demoiselles d'Avignon(1907) which could well have informed his work. However, this also neatly acknowledges Yoruba sculpture as the route of inspiration as Picasso's cubist work, allowing 'natural synthesis' to come full circle.Perhaps the most consistent element of Grillo's work that can be seen to span the course of his career (albeit in phases or recurring years) is his palette of blues and purples at their varying depths and derivatives. Possibly aesthetically influenced by both Picasso's 'blue period' (1901-1904) and more significantly adire dye (commonly used in Yoruba communities for dying clothes), Grillo has not explicitly confirmed his colour inspiration. However, by having a coherent colour palette system, Grillo allows a conversation to be formulated between colour and compositional form which dominates his work allowing extensive narrative possibilities within the aesthetic cohesion of this painting. Heavily influenced by his Yoruba heritage and traditions, a subject that is thematically consistent within his paintings, the work depicts a woman tying the final knot in her gele (headscarf) as was traditional form of attire for Yoruba women. Painted during the years of the Nigerian/Biafran war (1967-1970), Nigeria was a conflict zone, Grillo used the female symbol to illustrate struggle, endurance and stoicism, intrinsic motifs in his work at the time. Bookended by works such as Blue Moon(1966) and African Woman in Gele(1975) we can see the thematic interest in how the Yoruba woman presents herself, eyes downcast or turned away from the viewer. In comparison to these works, it can be concluded that the The Seventh Knot is synonymous in palette, execution, and subject, whilst holding an outstanding position as one of the artist's most dynamic works in composition. We are grateful to Chika Okeke-Agulu for his assistance in our compilation of this footnote.BibliographyYusuf A. Grillo, 'Appreciations of Felix Idubor', African Arts 2:1 (autumn 1968)Simon O. Ikpakronyi, Master of Masters, Yusuf Grillo: His Life and Works, ed. Paul Chike Dike & Patricia Oyelola, (Nigeria: National Gallery of Art, 2006)For further information on this lot please visit Bonhams.com
Kurt Jackson R.W.A. (British, born 1961)Rabbit Fence, Wind Break, Runner Beans signed and dated 'Kurt J 06' (lower right), titled 'rabbit fence wind break runner beans' (upper centre), inscribed 'rabbit fence/wind break/Autumn/OLD Runners caroline' (lower left) oil and pencil on canvas122 x 121.5cm (48 1/16 x 47 13/16in).Footnotes:ProvenanceWith Messums, London, where acquired by the present owner, circa 2007-8Private Collection, U.K.Kurt Jackson's paintings are more than just landscapes. His work straddles the boundary between art and politics by bringing attention to the fragility of the natural world. Cemented by the artist's studies in Zoology at the University of Oxford, Jackson's love of landscape is underpinned by an urgent call to protect and conserve our environment. This interest is clearly illustrated by Jackson's artist-residencies with Greenpeace and the Eden Project. His large-scale paintings, often created en-plein-air, are imbued with a sense of movement that reminds us of the joy and beauty of nature, and why it should be protected. The present lot depicts a more domestic landscape than Jackson typically paints, giving us an insight into the artist's personal relationship with nature.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
A Bowie Knife, the 21.5cm clip-point scallop back steel blade stamped J.E.MIDDLETON & SONS, ROCKINGHAM STREET, SHEFFIELD, the German silver crossguard with ball quillons, with foliate embossed ferrule, wrythen fluted horn grip and brass pommel, with stitched leather scabbard, 37cm; a Second World War HJ Knife, the plain 14cm steel blade stamped with RZM logo and M7/52, the white metal hilt with chequered black plastic grip scales set with enamel HJ badge, with black painted steel scabbard and leather strap, 25.5cm (crack to badge and one grip scale) (2)
A Colt Model 1860 Army Six Shot Single Action Percussion Revolver, circa 1862, in .44 calibre, the 20cm round steel barrel stamped in single line - ADDRESS COL.SAM.COLT. NEW-YORK. U.S. AMERICA, the left side of the frame stamped COLT'S PATENT, with under-barrel rammer, brass trigger guard and walnut grip scales, the left stamped with inspector's mark, all metal parts stamped 64140, 34cmAction works smoothly, pitting to the barrel and frame, small chip to left grip scale at the pommel.
Joseph Mallord William Turner, RA (1775-1851) Chepstow Castle on the river Wye, Monmouthshire, Walessigned and dated 'Turner 1794' (lower left)watercolour on paper31 x 41.7cmProvenance:Collection of Dr Thomas Monro (1759-1833),His Sale, Christie's, London, 26th-28th June & 1st-2nd July 1833, 1st day of sale, lot 128;Collection of William Leaf (d.1874) of Park Hill, Streatham, by 1862,His Sale, Christie's, London, 7th May 1875, lot 376, bt. Agnew for £168;Collection of Sir Joseph Heron (1809-1889),His Sale, Christie's, London, 9th June 1890, lot 75, bt. Walford for £29 8s.;Collection of David Jardine (1827-1911) of High Lee, Woolton, Liverpool,His Sale, Christie's, London, 16th March 1917, lot 58, bt. "AJG" according to a label affixed to the reverse (possibly a member of the Gibson family);The Hon. Mrs Rupert Blyth (née Charlotte May Gibson, 1891-1956) by 1956, Acquired from her estate by the wife of her cousin George Cock Gibson, Mrs Angela Madeleine Gibson (1896-1993), for £280,Thence by family descentExhibited:London, The International Exhibition, 1st May-1st November 1862, no. 1041 as ‘Chepstow (drawing), lent by W. Leaf'Literature:cf. Copper-Plate Magazine, vol. 2, pl. 67, engraving of 'Chepstow' by J. Storer, published 1st November 1794;Andrew Wilton, J.M.W. Turner: His Art and Life, 1979, p. 311, not illustratedThe present watercolour can be identified with the one previously recorded by Alexander Joseph Finberg (1866-1939) and referred to in Wilton’s catalogue (see Literature, Wilton, p. 311), but which has until now been untraced. In his manuscript card index of Turner’s watercolours in private and public collections, now in the Print Room of the British Museum, Finberg recorded a drawing of this subject and of identical dimensions with provenance to Dr Monro, Leaf and Heron which clearly matches that of the present work. The subject of Chepstow Castle and bridge was one of sixteen scenes commissioned from Turner to be engraved for John Walker’s Copper-Plate Magazine between 1794 and 1798. This was the first time Turner was asked to supply a set of topographical views for a publication. Whilst Turner planned his Midland tour of 1794 with the intention to collect material for this venture, he would have equally drawn on landscape subjects from his earlier tours. No sketches of this composition are known, however, the Turner Bequest, now at Tate Britain, contains two pencil drawings of Chepstow (D40034, D00130) which are dated to Turner’s visit in 1792. The present view was therefore most likely inspired by Turner’s tour of Wales of June-July 1792, which could be considered his first independent tour, or his subsequent 1793 tour of the Welsh Marches which took him to many places he had visited the previous year, including the Wye valley. The tours provided Turner with the raw material from which he could develop his subjects in watercolour in his studio on his return to London. This composition is known to exist in two versions with significant variations - the present, larger and noticeably more finished version dated 1794; and another, smaller (20.3 x 29.7cm) and undated version which is now at the Courtauld Institute of Art Gallery, London (D.1974.STC.1). The differences can be observed in the arrangement of the boats, the detailing of the town and castle, and the position of the figures on the bridge. Both versions also appear to differ, to a varying extent, from the engraving of this subject by James Storer for the Copper-Plate Magazine (see Literature), though the Courtauld version is more like the subject for the engraving (see Wilton, p. 311). The present version, being large-scale and highly worked up, might have been intended as a presentation piece to a patron, such as Dr Thomas Monro who was to become one of Turner’s most important patrons. We are grateful to Andrew Wilton for confirming the attribution first hand and for his assistance with this catalogue entry. Examined out of frame.Some discolouration, especially in the sky area. Light, even fading. Paper is slightly cockled. Slight crease in the centre. Slight exposure mark and burn visible on two sides from old wood pulp mount. A few rust spots in the sky which have been retouched. A bit of skinning to the paper top right corner, which has been retouched. Masking tape used as dust seal from the glass round the back of the mount. Paper debris on the reverse. Small areas of skinning to the reverse. Inlaid into good quality paper. White pigment filler around the edges. Traces of gold around the edges indicate a past gold mount. Previously treated for foxing.Acid free mount. Low reflective glass. Very thin back mount. Poor quality frame backboard. Oil gilded wood frame by Walker's Galleries. Framed 51.5 x 61cm.
Breitling Genéve Datora chronograph stainless steel gentleman's wristwatch, reference no. 2018, serial no. 1438xxx, circa 1975, silvered dial with baton markers, minute track, units per hour outer scale, subsidiary blue constant seconds and minute recording dials, date aperture at the six position and orange centre chronograph seconds, modern black leather strap, 36mm-Movement - currently functioning.Dial - good.Glass - good.Hands - small hole to the minute hand infill otherwise good.Case - good.Crown - adjusting correctly, push buttons start/stop and reset.Strap - modern, good.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
A Worcester teacup and saucer, circa 1775, painted with exotic birds and butterflies in scrolling cartouches against a scale blue ground, underglaze blue fret mark, teacup 4.5cm high, saucer 13cm diameter (2)Some significant gilding wear to rim of the teacup. Crack through the foot rim of the teacup, together with a further small nibble to the foot rim and some general nibbling, probably on manufacture. Pitting to the interior of the teacup.One small nibble to the foot rim of the saucer. Some surface scratches and light signs of use. The enamels are generally good and there are no obvious scratches or patches of wear.
Two Worcester 'Exotic Birds' tea canisters, lacking coverscirca 1765-70of ovoid form, with gros and scale blue grounds, the smaller example further featuring gilt reserved panels of butterflies and other insects, underglaze blue fret mark, 12.5cm and 14.5cm high (2)Taller caddy - fully but quite sympathetically restored. The original damage is still visible to the interior, it has previously been broken into several pieces and put back together. One section of damage has also been patched. Under UV light, the exterior looks quite dull - it has had the dark blue ground colour matched throughout and the gilding touched up at the same time. It has been done to a professional standard and would be hard to notice without looking inside.The second caddy is in good condition with no damages or repairs. A few minor scratches to the painted panels.
Heuer: A gentleman's stainless steel chronograph watchModel: CarreraReference: 1153Date: Circa 1969Movement: Cal.12 17-jewel, manualDial: Sunburst dark blue, two white subsidiary dials for 30 minute and 12 hour recording, silver and luminous baton hour markers, steel hands with luminous inserts, orange chronograph hand, white outer Tachymeter scale, date at 6Case: Polished and brushed tonneau, pull-push crown opposing twin pushers, screw down case backStrap/Bracelet: Black leather padded strapBuckle/Clasp: Stainless steel buckleSize: 39mm (40 including crown)estimate subject to inspection
Omega Ladymatic: an 18ct yellow gold lady's automatic cocktail watch, the gilt dial with diamond quarters and faceted-dot other hours, fitted a 24-jewel movement, cal. 661, movement no.21784***, the internal case stamped 7515***, on a chevron decorated scale link strap, 40.2g gross, 17.5cms long.
AN 1832 ARTILLERY SWORD/GLADIUS with 18 1/2" fullered blade and brass hilt with fish scale grip, 24 1/2" long, together with a German short sword, similar to the 1871 bayonet, with 17" blade, maker's mark for Weyersberg and brass hilt, 22" long (2) (Est. plus 21% premium inc. VAT)Both without scabbards, oxidation staining present to both. Angle grinder sharpening marks to the gladius
Nine boxed Franklin Mint 1/24 scale die-cast model vehicles, comprising: a 1915 Stutz Bearcat, a 1930 Duesenberg J Derham Tourster, a 1907 Rolls-Royce Silver Ghost, a 1936 Bugatti Type 57SC, a Jaguar E Type, a 1938 Alvis 4.3 Litre, a 1961 Jaguar E Type Coupe, and a Volkswagen Beetle, with a Danbury Mint 1931 Ford Model A Roadster (9)
After Joan [Johannes] Blaeu (1596-1673), CESTRIA COMITATUS PALATINUS, an engraved map on laid paper depicting the County Palatine Of Cheshire, circa 1645, the title cartouche depicting gentlemen, the scale cartouche depicting livestock farmers, the top edge with twelve coats of arms and a blank shield, later hand coloured, visible plate mark, 39cm x 50.5cm, framed and glazed; with John Ogilby (1600-1676), THE CONTINUATION OF THE ROAD FROM LONDON TO HOLY HEAD, two road maps comprising Lichfield to Chester, 31cm x 43cm, and Chester to Holyhead, 35.5cm x 47cm, each later hand coloured, framed and glazed, with three framed and glazed prints of Chester and a print of Conway (6)
Ten boxed Franklin Mint 1/24 scale die-cast model vehicles, comprising: a 1930 Bugatti Royale Coupe Napoleon, a Hispano-Suiza H6B Kellner, a 1933 Duesenberg Twenty Grand, a 1932 Cadillac V-16, a 1949 Woody Wagon, a 1914 Rolls-Royce Silver Ghost, a 1921 Rolls-Royce Silver Ghost (copper body), a 1929 Rolls-Royce Phantom I Cabriolet de Ville, a 1911 Rolls-Royce Tourer, and a 1929 Bentley (10)
Sam Gilliam (American, 1933-2022). Acrylic on birch plywood titled "The Chartmaking" depicting a colorful abstract composition, 1997. Two pieces are hinged and can swing outwards from the main body of the work. Signed, dated, and titled along the verso.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career.From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died of renal failure in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Height: 22 1/4 in x width: 33 in x depth: 1 3/4 in.Condition: The artwork is in fairly good condition. The surface is stable and there are no losses, breaks, or restorations. Both hinged panels swing open smoothly. All parts are firmly attached and there are no loose panels. Along the left hinged panel along the upper edge there are two star-shaped cracks that project outwards; visible in the lot listing. Along the center panel there is a network of paint accretions that sit on top of the thick resin layer; possibly original to the artistic process. Some light wear throughout the edges, consistent with age and use.
Marc Chagall (Russian/French, 1887-1985). Lithograph on Arches paper titled "Paris of Dream" depicting a dream-like depiction of Paris, 1969-1970. Pencil signed along the lower right; numbered 12/75 along the lower left. With a certificate of authenticity from Cass Publishing. As the artist described these works, "Visions of Paris which are perhaps the same and also different. Paris, reflection of my heart. I'd like to fade into it, not be alone with myself."Literature: Mourlot 600.Provenance: Cass Publishing, Minnetonka, Minnesota; Private Collection, Minnesota.Lot Essay:Marc Chagall (born Moishe Shagal) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opera.Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".Sight; height: 40 1/2 in x width: 28 in. Framed; height: 57 1/4 in x width: 45 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Corgi Aviation and others. A boxed group of seven aircraft, including Corgi AN32011 Hawker Hurricane MK1 VY-Q, No. 85 Sqn. RAF, Sqn Leader Peter Townsend, Corgi AN32107 Messerschmitt BF109E JG-3 'Udet' Gruppenkommandeur Hauptmann Hans Von Han, together with an Airfix 1/30th scale model of HMS Illustrious.(8)
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![WILLIAM HENRY DYER. A FOLDER OF THREE UNFRAMED WATERCOLOUR EXAMPLES, ALL INSCRIBED TO THE REVERSE:1] TAVY CLEAVE, DARTMOOR. 2](https://cdn.globalauctionplatform.com/b2b03e45-2ccd-4131-baaf-afc100db0876/fa9db56d-58bc-47bf-9908-afc80132afe0/468x382.jpg)
![After Joan [Johannes] Blaeu (1596-1673), CESTRIA COMITATUS PALATINUS, an engraved map on laid paper depicting the County Pala](https://cdn.globalauctionplatform.com/469051b7-f215-4896-b8ab-afbd013a9de0/f7ba7197-8bdd-436f-98ae-afbf0134d3a4/468x382.jpg)
