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Lot 646
11 Atlas Edition boxed 1/43 scale armour models, all damaged (but repairable) except the US Half-track mortar carrier which is fine, 4 Atlas Editions 1/76 boxed Eddie Stobart trucks (models as new, boxes have light storage wear), and 5 Atlas Editions 1/43 "Best Of British Police Cars", all previously displayed, some with dust and minor damage.
Lot 715
FOUR 1/144 SCALE CORGI AVIATION ARCHIVE DIECAST MODELS comprising a No.48504, D.H. Comet 4 'B.O.A.C.'; No.AA31506, Bristol 175 Britannia 102, G-ANBA, 'B.O.A.C.', Heathrow, 1958; No.47202, Avro York 'B.O.A.C.'; and No.AA30401, Lockheed L-749 Constellation 'B.O.A.C.', each mint or near mint and boxed (some boxes slightly faded or dusty from long-term storage).
Lot 716
FOUR 1/144 SCALE CORGI AVIATION ARCHIVE DIECAST MODELS comprising a No.48501, D.H. Comet 4B 'British European Airways'; No.47607, Vickers Viscount 802 'British European Airways'; No.AA31501, Bristol Britannia 102 'Britannia Airways'; and No.47605, Vickers Viscount 700 Series 'British Eagle', each mint or near mint and boxed (some boxes slightly faded or dusty from long-term storage).
Lot 717
FOUR 1/144 SCALE CORGI AVIATION ARCHIVE DIECAST MODELS comprising a No.47402, Avro Lancastrian 'B.O.A.C.'; No.47110, Douglas DC3 'Air France'; No.47508, Lockheed Constellation 'Pan Am'; and No.48604, Bristol Britannia 253 / CMK1 XM-496 'Royal Air Force Transport Command', each mint or near mint and boxed (some boxes slightly faded or dusty from long-term storage).
Lot 718
FIVE 1/144 SCALE CORGI AVIATION ARCHIVE DIECAST MODELS comprising a No.47205, Avro York 'R.A.F.'; No.AA31401, Comet 4 'Royal Aircraft Establishment'; No.48903, B-29 Superfortress with Bell X-1; No.48405, C 130K, C1 Hercules 'R.A.F. Desert Storm'; and No.47304, Avro Lancaster 'Operation Chastise: Dambusters Special Edition', each mint or near mint and boxed (some boxes slightly faded or dusty from long-term storage).
Lot 719
FIVE 1/144 SCALE CORGI AVIATION ARCHIVE DIECAST MODELS comprising a No.AA33503, Boeing B-52D Stratofortress, 56-0689, American Air Museum, Duxford; No.AA32905, Boeing 707-336 'B.O.A.C., G-AXGW, 1970; No.AA33504, Boeing NB-52B with X-15 Research Aircraft, Edwards AFB, California; No.AA37001, Vickers VC-10 C.1, No.10 Squadron, R.A.F. Brize Norton, Falkland Islands 'Casevac' Flights, June 982; and No.AA32901, Boeing VC-137C 'Air Force One', each mint or near mint and boxed (some boxes damp-damaged, slightly faded and/or dusty from long-term storage).
Lot 727
FIVE 1/144 SCALE CORGI AVIATION ARCHIVE DIECAST MODELS comprising a No.48101, Boeing Stratocruiser 'Pan Am'; No.47401, Avro Lancaster Mk X-PP 'Trans Canada Air Lines'; No.47301, Avro Lancaster 'Battle of Britain Memorial Flight'; No.47202, Avro York 'B.O.A.C.'; and No.47105, Douglas DC3 'Eastern Airlines', each mint or near mint and boxed.
Lot 754
TEN 1/43 SCALE DIECAST MODEL FORMULA 1 RACING CARS by Minichamps (3), Atlas (6), and Onyx (1), including a two model Graham Hill / Damon Hill set, each mint or near mint and boxed; together with a 1/24 scale Heritage Classics No.5017, Williams Renault FW16 'Damon Hill', mint or near mint and boxed; and a model Damon Hill driver's helmet, boxed, (12).
Lot 10
TW Steel "Canteen" stainless steel and gold PVD coated gentleman's wristwatch, model no. CB34, circa 2018, the signed silver dial with baton, markers, Arabic quarters and outer minutes track, date aperture between the four and five o'clock positions, subsidiary seconds, minutes and hours dials, the bezel with tachymetre scale, the crown with screw-down canteen style cover, quartz movement, the case 45mm diameter, housed in original flight case style box with guarantee card dated 2018
Lot 14
Christopher Ward Rapide Chronograph stainless steel gentleman's wristwatch, model no. C7, circa 2013, the signed black dial with baton markers, outer minutes track and date aperture at the four o'clock position, with subsidiary tenths, seconds and minutes dials, the bezel with tachymetre scale, quartz movement, the case 42mm diameter, housed in original box with instructions
Lot 16
Seiko Chronograph 100M gentleman's gilt metal wristwatch, the signed grey dial with gilt baton markers, outer minutes track and date aperture at the twelve o'clock position, subsidiary 24 hour, seconds and minutes hands, the black bezel with tachymetre scale, quartz movement, the case 44mm diameter, housed in original box with instructions
Lot 19
Casio Edifice WR100M Red Bull Racing gentleman's stainless steel wristwatch, model no. 5147, the signed black skeleton style dial with baton markers, outer minutes track and date aperture between the seven and eight o'clock position, subsidiary 24 hours, minutes and seconds dials, the back bezel with tachymetre scale, quartz movement, the case 48mm diameter, housed in original box with instructions
Lot 2
Bulova Precisionist gilt gentleman's 1/1000 chronograph wristwatch, the signed black dial with baton markers, date aperture between the four and five o'clock positions, subsidiary hours, minutes, 1/10 seconds/ 1/100 seconds and 1/1000th seconds dials, the uni-directional rotating bezel with inner tachymetre scale and outer Arabic numerals, quartz movement, the case 48.5mm diameter, housed in original box with instruction manual
Lot 6
Citizen Eco-Drive gentleman's stainless steel wristwatch, the signed blue dial with Arabic markers and outer tachymetre scale, date aperture at the four o'clock position, subsidiary seconds, minutes and 24 hours dials, solar powered, the case 43.5mm diameter, housed in original box with instruction manual
Lot 9
TW Steel "Canteen" rose gold PVD coated gentleman's wristwatch, model no. CB183, circa 2018, the signed blue mirror dial with baton, markers, Arabic quarters and outer minutes track, date aperture between the four and five o'clock positions, subsidiary seconds, minutes and hours dials, the bezel with tachymetre scale, the crown with screw-down canteen style cover, quartz movement, the case 45mm diameter, housed in original flight case style box with guarantee card dated 2018
Lot 301
A collectable Ransomes of Ipswich model MG2 Crawler having a Sturmey Archer air-cooled petrol engine. A surprisingly capable and easily transported small scale track-laying tractor. The engine turns but the valves are situated in a box in the foot-well. An ideal winter project to use or perhaps to exhibit on the vintage rally scene next year.
Lot 16
AGOSTINO BONALUMI (1935-2013)Bianco 1967 signé, daté 67 et inscrit N.Y. au revers toile de forme et tempera vinylique signed, dated 67 and inscribed N.Y. on the reverseshaped canvas and vinyl tempera 127.5 x 176 x 30.5 cm. 50 3/16 x 69 5/16 x 12 in.Footnotes:Cette œuvre est enregistrée sous le n° 67-015 auprès de l'Archivio Bonalumi, Milan ; un certificat signé par l'artiste sera remis à l'acquéreur.ProvenanceGalleria Fumagalli, BergameAcquis auprès de celle-ci par le propriétaire actuel en 2006ExpositionNew York, Galleria Bonino, Agostino Bonalumi painting – constructions, 1967BibliographieWolbert Klaus, Agostino Bonalumi, Parme 2003, p. 152, illustré en noir et blanc Renato Barilli, Lia Durante, Agostino Bonalumi. Premio 'Artista dell'anno 2006', Milan 2006, p. 53, illustré en couleurs Fabrizio Bonalumi, Marco Meneguzzo, Agostino Bonalumi. Catalogo Ragionato, Milan 2015, Vol. II, p. 406, n° 332, illustré en noir et blancAgostino Bonalumi est né en 1935 à Vimercate, en Italie. Artiste autodidacte, il a étudié le design technique et la mécanique. Il a passé la majeure partie de sa vie en Italie, à l'exception d'une période d'étude et de travail en Afrique méditerranéenne et en 1967 aux Etats-Unis. Bonalumi est surtout connu pour ses toiles monochromes enduites de vinyle façonné.Alors qu'il visite l'atelier du peintre Enrico Baj, il rencontre Piero Manzoni et Enrico Castellani, avec lesquels il exposera à Rome, Lausanne et Milan en 1958. Leur questionnement autour de l'art et de leur époque les amène à repenser leur peinture vers une forme de peinture-objet : pittura-oggetto concept qui plut aussitôt à Bonalumi. Un an plus tard, Bonalumi et Castellani fondent la revue Azimuth et commencent à fréquenter l'atelier de Lucio Fontana. En effet au contact de Lucio Fontana, Bonalumi a étudié le concept d'espace et a réalisé ses premières Estroflessioni, consistant à étirer et à déformer les toiles à travers des structures et des cadres construits derrière elles créant ainsi l'illusion d'une force invisible poussant par dessous. Dans les années 1960, l'artiste introduit de nouveaux matériaux dans ces peintures construites tels que l'aluminium, et il a agrandi l'échelle de son travail, créant finalement des installations.Le travail de Bonalumi a été présentée dans de nombreuses grandes expositions individuelles et collectives, notamment aux Biennales de Venise et de São Paulo, et fait partie des collections de plusieurs musées, dont la Galleria Civica d'Arte Moderna e Contemporanea de Turin, la Galleria Nazionale d'Arte Moderna e Contemporanea de Rome, le Museu Coleçao Berardo de Lisbonne, la Peggy Guggenheim Collection de Venise et le Walker Art Center de Minneapolis. Des rétrospectives de l'œuvre de l'artiste ont été organisées à l'Institut Mathildenhöhe de Darmstadt, en Allemagne, en 2003, au Musée d'art moderne de Moscou en 2011 et au Palazzo Reale de Milan en 2018.Le public américain a pu découvrir, Bianco et le travail de Bonalumi lors de son exposition dédiée par la Galleria Bonino à New York en 1967. Cette œuvre de 1967 est extrêmement importante étant donné cette composition extraordinaire qui sont l'une des plus recherchées par les collectionneurs et que le marché n'a que trop peu l'occasion de pouvoir voir sur le marché. Grand Artiste de son vivant, Agostino Bonalumi, nous éblouit à nouveau avec ses extroflexions semi circulaires sur les trois angles et joue avec une plus petite estroflessione pointue dans l'angle supérieur gauche, défiant avec les limites de la toile qui lui sont imposées. Son habileté et cette vision si particulière de l'espace nous amène vers la contemplation et l'introspection. Légère, aérienne, puissante, ce pur pittura-oggetto présenté est l'exemple parfait de la capacité de l'artiste à jouer avec les trois dimensions qui enrobe le spectateur. Cet architecte de la toile met en scène ici la lumière tel un réflecteur sensoriel ; les volumes dans l'espace captent avec force l'œil du spectateur et lui donne une dimension physique et tactile.Agostino Bonalumi was born in 1935 in Vimercate, Italy. A self-taught artist, he studied technical drawing and mechanics. He spent most of his life in Italy, except for a period of study and work in Mediterranean Africa and 1967 in the USA. Bonalumi is best known for his monochrome canvases covered with shaped vinyl.While visiting the studio of the painter Enrico Baj, he met Piero Manzoni and Enrico Castellani, with whom he exhibited in Rome, Lausanne and Milan in 1958. Their questioning of art and of their current times led them to rethink about their painting as a form of object painting: pittura oggetto, a concept that immediately appealed to Bonalumi. A year later, Bonalumi and Castellani founded the magazine Azimuth and began to visit Lucio Fontana's studio. Inspired by Lucio Fontana, Bonalumi studied the concept of space and made his first Estroflessioni, which consisted of stretching and deforming canvases through structures and frames built behind them, thus creating the illusion of an invisible force pushing from below. In the 1960s, the artist introduced new materials into these constructed paintings, such as aluminium, and expanded the scale of his work, eventually creating installations.Bonalumi's work has been shown in numerous major solo and group exhibitions, including the Venice and São Paulo Biennales, and is included in the collections of several museums, including the Galleria Civica d'Arte Moderna e Contemporanea in Turin, the Galleria Nazionale d'Arte Moderna e Contemporanea in Rome, the Museu Coleçao Berardo in Lisbon, the Peggy Guggenheim Collection in Venice, and the Walker Art Center in Minneapolis. Retrospectives of the artist's work were held at the Mathildenhöhe Institute in Darmstadt, Germany, in 2003, the Museum of Modern Art in Moscow in 2011 and the Palazzo Reale in Milan in 2018.The American public first discovered Bianco and Bonalumi's work at his solo exhibition at Galleria Bonino in New York in 1967. This 1967 work is extremely important due to the extraordinary composition, one of the most sought after by collectors, and which rarely surfaces on the market. A great artist during his lifetime, Agostino Bonalumi dazzles us again with his semi-circular extroflexions on 3 angles, playing with a smaller sharp estroflessione in the upper left corner, defying limits imposed by the canvas. His skill and unique vision of space lead us to contemplation and introspection. Light, airy, powerful, this pure pittura-oggetto here on show is the perfect example of the artist's ability to play with the three dimensions that engulf the viewer. Here, this architect of the canvas stages the lighting as if it were a sensory reflector; the volumes of the space, giving it a physical and tactile dimension, forcefully capture the eye of the spectator.... 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 26
Breitling Top Time gentleman's stainless steel wristwatch, ref. 2002, circa 1965, the signed black dial with baton markers, outer minutes track and tachymetre scale, silver subsidiary seconds and minutes dials, central seconds hand, the case with original crown and two pushers, manual wound, the case 36mm diameter
Lot 222
WILHELM SCHMIDT: AN EXCEPTIONAL BOULDER OPAL, GEM-SET AND HARDSTONE BUST, CIRCA 1890Portraying Mars, the Roman god of War, in Ajax helmet surmounted by a vulture, sculpted from a single boulder opal, his bearded face and neck and the vulture's legs and bald head carved in dark brown ironstone matrix resembling deeply patinated bronze, the winged helmet and the vulture's plumage highlighted by utilising the thin layers of precious opal within the host rock, the opal with additional intricately engraved feather and scroll detail, the helmet and vulture's eyes inlaid with brilliant-cut diamonds, the vulture wearing a ropetwist collar, backed in engraved yellow gold. The torso clad in engraved fish-scale gold armour, the draped folds of the toga rendered in carved chalcedony, with rose-cut diamond fastening. Mounted on a silver circular collar with gold acanthus leaf scrollwork and set with three cabochon turquoises and a single cabochon emerald. The whole on a rectangular tapered, polished hardstone pedestal of exquisite purple and green colouration. Each face of the pedestal in-set with an oval cameo withing gold ropetwist frame; an idealised Roman goddess in sardonyx at the front, and three labradorite cameos to the sides and back variously depicting Minerva, Cleopatra and Isis, on a green hardstone base, signed W.Schmidt on reverse of toga, repair in chalcedony toga, three diamonds deficient, lengths: 31 cm total, the bust 14 cm, the plinth 14 cm, Footnotes:ProvenanceHerbert Maxwell Stuart (1842-1921) The date of purchase by Maxwell Stuart is unknown but the sale is mentioned in a typed transcript of a letter of reminiscences, written in 1926, by Wilhelm Schmidt to his friend and business associate Dr George Frederick Kunz of Tiffany, 'Bust of Mars, in opal matrix, size 5 inches, face and neck in brown matrix, Ajax helmet in opal of finest quality...Purchased by Mr Herbert Maxwell Stuart of Scarthingwell Hall, Tadcaster.' Schmidt continues, 'Mr Herbert Maxwell Stuart, the lineal descendant of the Stuarts and owner of their estates in Scotland and Yorkshire was a purchaser of many of my works. He was greatly interested in precious stones.'Maxwell Stuart amassed a large collection of unmounted specimen gems, including the largest facetted topaz, known as the Maxwell Stuart Topaz. Part of his collection was sold after his death at Christie's on 22 June 1921, including several opal cameos, unattributed in the catalogue but most likely carved by Schmidt. This bust was not part of the sale. It was purchased, unattributed, as a beautiful object of vertu by the family who currently own it. This highly important signed opal carving by the prodigiously gifted Victorian cameo engraver Wilhelm Schmidt (1845 – 1938) represents a uniquely important example of Schmidt's pioneering opal carving technique, the scale of ambition setting it apart from his other known works. Until recently, it was believed Schmidt never signed his work and this is the only fully signed piece so far traced, underscoring its exceptional importance. Wilhelm Schmidt was born in Idar Oberstein, the European centre of the mineral, gemstone and lapidary trades, where large deposits of carnelian and other agates, found during the 16th - 17th centuries, gave rise to an illustrious gem engraving industry. This instilled in Schmidt 'a great love of art in every expression' and despite being born with an eye defect, he conceived a passion for gem engraving from an early age. In 1860, at the age of fifteen, he was sent to Paris, as an apprentice in the lapidary studio of his cousin, Louis Purper. The head of the studio was the cameo-cutter, Arsène, whom the young Schmidt came to admire greatly and who trained him in the waning neo-classical tradition.Schmidt stood out as a remarkable talent, winning prizes for drawing and draughtsmanship, but by the time he graduated, the voracious thirst for cameos and intaglios by connoisseur collectors and students of antiquity was rapidly drying up. Schmidt's cousin closed his studio to pursue a more profitable career as a pearl dealer, whilst Wilhelm struggled on for several tough years trying to make ends meet as a gem engraver. He found work by cutting portrait cameos and an early commission was from an elderly American, Mr Fox, whom Schmidt described as 'practically the only important dealer in precious stones in New York', for onyx cameos of General Grant and Abraham Lincoln, heroes of the American Civil War.At the outbreak of the Franco-Prussian War, Schmidt was expelled from Paris and returned home in 1869. Much to his relief, he was not called up to fight against his adopted country, or Napoleon III, to whom he referred patriotically as 'mon Empereur'. He remembered in old age, 'I shall always gratefully remember France, as the country where I learnt and studied the art of precious stone engraving. Therein I found pleasure, happiness, and contentment throughout my long life.'In 1870, he emigrated for the second time, setting up in London an engraving business trading alongside his gem-importer brother Louis. London directories from 1870 list 'Schmidt and Nourick, importers of precious stones' at 59 Hatton Garden, and by 1872, the firm was styled 'Louis Schmidt', below whose name appeared 'Schmidt, W., Cameo Engraver'. In the same way he took his French identity to heart whilst living in Paris, Schmidt became thoroughly anglicised, calling himself William, speaking excellent English and proudly becoming a naturalised citizen in 1887.London, like Paris, had a rapidly dwindling pool of specialist patrons of the glyptic arts but Schmidt successfully navigated the macro-economics of the jewellery industry by adapting to new tastes and by pioneering innovative techniques. He carved and sold numerous cameos, for use in ornamental jewellery, to the best London jewellery firms working in the fashionable Archaeological Style, including John Brogden, Guiliano, Castellani, Child & Child and Edwin Streeter, as well as to leading jewellers in America such as Marcus and Tiffany. Although these carvings were unsigned and the retailers did not credit the engraver in their finished jewels, this and his portrait cameo business, afforded him enough money to live comfortably with his second wife, six daughters and one stepson.Schmidt's gemstone-dealing brother supplied him with a plentiful source of unusual and rare specimens with which he could work. His wide repertoire of materials included labradorite, malachite, tourmaline, crocidolite, moonstone, zircon, tourmaline, malachite, lapis lazuli, sapphire, amethyst, topaz and, most unusual of all, opal that was to become his trademark.In 1874, Schmidt invented a distinctive and challenging new technique of carving opal to create striking three-dimensional sculptures through its contrasting layers. To quote the late scholar Gertrud Seidmann, a connoisseur of Schmidt's work, to whom we are indebted for much of our knowledge of him:'Opal cameos, if rare, were not unknown (in the 19th century) but Schmidt had invented a novel technique: instead of carving the whole cameo from precious opal, he used blanks with a thin layer of precious opal overlaying the matrix, in the same way in which the contrasted layers of agates were traditionally used to set off the background.'In 1878, London jeweller John Brogden unveiled a necklace set with opal cameos - carved by Schmidt - at the Paris Exhibition. The necklace caused a sensation and was awarded a gold medal and high praise from the press. The Telegraph described it as a 'wonder of wonders'. However, only Brogden was credited and awarded the Cross of the... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 37
SOPHIA VARI: 'VIRGILE II' CUFF, 2007The ebony cuff mounted with a black marble sculpture, signed Vari, numbered, French assay mark, maker's mark, internal diameter 5cm, height 5cmFootnotes:This bracelet is an edition of 8 plus two Artist's Proofs.Provenance: Louisa Guinness Gallery Exhibited: London, Louisa Guinness Gallery, Beauty and Harmony: Jewellery, Painting and Sculpture by Sophia Vari, 1st October - 15th November 2019. Sophia Vari (b.1940) works in mixed media: metal, marble, jewellery or collage, creating 'beauty and harmony' through abstraction. Jewellery design came to Vari while exploring small-scale plasticine versions of her sculptural works. They became the basis of her jewellery designs. Vari says, 'When I create a jewel, I don't think about a 'jewel' but a 'sculpture', putting in all my convictions and strength. It is only later that I adapt the sculpture with technical tools to make it wearable.'Lots 36-42 are from a Private Collection of Artist Jewellery.For further information on this lot please visit Bonhams.com
Lot 422
A GERMAN BRONZE FIGURE OF A MAN WIELDING A SPEAR IN THE MANNER OF CASPAR GRAS, POSSIBLY 17TH CENTURYIn the Renaissance Mannerist style, now mounted on a mahogany swept base the figure 11.5cm high, 28cm high overall Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCaspar Gras (1585-1684) was considered to be one of the finest metalworkers in Northern Europe. He is particularly known for his small-scale Kunstkammer pieces, many of which were created during his appointment to the court of Archduke Maximillian III. Condition Report: Surface has been cleaned back leaving a warm paler golden tone, formerly holding something in right hand, some damage to feet from old mounting Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 562
A PAIR OF BRONZE STATUETTES DEPICTING CHAINED BARBARY PIRATESAFTER PIETRO TACCA (1577-1640), IN THE MANNER OF FOGGINI (1652-1725)LATE 18TH/EARLY 19TH CENTURY Set on variegated Verde Antico marble pedestalseach 46cm high, the bases 14.5 x 14cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseThese figures are derived from Tacca's early 17th century "Monumento dei Quattro mori" around the statue of Ferdinando I de' Medici, Grand Duke of Tuscany, in Piazza Micheli, Livorno. The figures represent captured Ottoman pirates and it is thought that he sculpted them using Turkish and Algerian men held in the Bagno dei Forzati in Livorno and used by the Duke as galley slave. Reduced scale bronze adaptations were made by Foggini and these were the basis of reproductions for connoisseurs into the 18th century. The Monument influenced Bernini's Fountain of the Four Rivers in the Piazza Navona in Rome. Pietro Tacca was the chief pupil and Follower of Giambologna.Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. scuffs and attrition to exposed knees, rubbing from handling to exposed limbs- shoulder blades etcleft hand figure has been knocked- resulting in some damage to pedestal under buttocks Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 655
A SCALE MODEL OF 'BIG BEN' THE CLOCK TOWER AT THE PALACE OF WESTMINSTER BY JACK INGLIS TOLTEC STUDIO, LONDON, CIRCA 1965/1966 Painted wood, paper and fitted for electricity, 99.5cm high: in a bespoke wooden case with maker's label and accompanying press and newspaper articles and correspondence between the British Travel Association and Jack Inglis with regards the commission and construction of this model C. 1965/1966the case 104.5cm high The Clock Tower at The Palace of Westminster is colloquially known as 'Big Ben' - correctly this name applies only to the Great Bell contained within the tower. In 2012 it was officially renamed the Elizabeth Tower to mark the Diamond Jubilee of Her Majesty Queen Elizabeth II. This lot was given to the present owner by the craftsman as a birthday present 17 years ago. Condition Report: This has not been removed from its storage box for 17 years. Consequently there is build up of spider webs and internal dust as the sponge lining has started to perish. Will remove from box but requires careful handling- signs to the reverse where it has been damaged slightly in the process. Some losses, lifting and fragments detached. 1 face with clock/timepiece wind-up mechanism behind but this has seized. Internal wiring leading to bulb in spire- this will require remedial rewiring and work to get working again and light switch to base with loss. Internal stamps for Luxembourg customs- case with wear from travel!Condition Report Disclaimer
Lot 1223
A good scratch-built live steam model of the Launch Branksome, scale 1:12, well detailed with panelled interior, padded seats, steam-powered kettle, and half canopy, on stand bearing plaque 'Branksome Windermere Steam Launch, scale 1in. to 1foot, model builder W. Nurse K.M.B.E.', 130 x 23cms.Notes:Branksome is one of the finest surviving Victorian steam launches in the world and is a member of the UK’s National Historic Fleet. Built in 1896 by George Brockbank of Windermere, Branksome was commissioned for Mrs Edna Howarth of Langdale Chase. Originally named Lily after Edna’s daughter, Branksome was designed for luxury. It cost around four times as much as similar boats, and features leather seats, walnut panelling, velvet upholstery and a marble hand basin in the galley. The vessel was owned by Mrs Howarth until 1919 and then passed into the Cowburn family. It stayed with them until around 1958 when Branksome was sold to George Pattinson. Branksome retains its original engine, built in 1896 by W. Sisson & Co of Gloucester, number 502.
Lot 9109
THE TAY BRIDGE. A late 19th Century manuscript plan depicting the first Tay Bridge, Dundee, Scotland, to scale, showing tidal movements and structure, approx size 242 x 47cm, rolled. Plans for a bridge over the Tay to replace the train ferry service emerged in 1854, but the first Tay Bridge did not open until 1878. The bridge was designed by engineer Thomas Bouch, who received a knighthood following the bridge's completion. It was a lightweight lattice design of relatively low cost with a single track. On 28 December 1879, the bridge suddenly collapsed in high winds. The incident is one of the greatest bridge-related engineering disasters to have occurred. An enquiry determined that the bridge was insufficiently engineered to cope with high winds.
Lot 334
THREE CORGI AVIATION ARCHIVE DIECAST MODEL AIRCRAFT comprising a 1/72 scale No.AA33701, Heinkel He111 H-3-11./KG1 'Hindenburg', 1940, Battle of Britain; 1/144 scale No.47509, Lockheed C-121A Constellation 'Military Air Transport Service'; and 1/144 scale No.47502, Lockheed Constellation 'Qantas', each mint or near mint, each boxed. Condition Report : Heinkel box slightly faded and damp-scarred. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 337
ASSORTED DIECAST MODEL VEHICLES & ACCESSORIES including a 1/12 scale Maisto Jaguar XJ220, silver; each mint or near mint and boxed, (8). Condition Report : Maisto box damp-softened and with snagged hole to base. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
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186097 item(s)/page