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Lot 965
2 Sunstar 1/24 scale boxed diecast comprising of a No. 2904 RMC 1453 Greenline double decker bus housed in the original polystyrene packaging with certificate No. 0629/5000 released, the model would benefit from a clean, and No. 2901 RM8 Routemaster Bus in London Transport livery, sold with its original box and numbered certificate 2973/5000 - both models appear to be complete, both boxes have significant water damage
Lot 977
A Franklin Mint Precision Models 1/24 scale Morris Mini Cooper 1967 boxed diecast group to include the Rally Montecarlo 1967 version, comprising of red body with white roof and racing number 177, together with the Morris Mini Cooper S 1967 example finished in red with black roof, both sold with perspex and wooden display cases
Lot 980
3 Minichamps 1/12th scale motorcycles comprising No. 122 016319 Yamaha YZR 500 Team Gauloises Yamaha GP 2001 "Olivier Jacque", and No. 122 991211 Ducati 996 "Carl Fogarty 1999, this model has been on display as is a little dusty, one handle grip is broken, together with a Minichamps Yamaha YZR 500 Team Gauloises Yamaha Tech 3, has been displayed but in good condition - models are in their original boxes
Lot 988
Corgi Toys modern issue 1/50th scale trucks group of 3 comprising No. 76901 Eddie Stobart Ltd 30th Anniversary gift set, CC12936 Corgi 'Sights & Sounds' Scania Topline Curtainside Trailer "Eddie Stobart", and CC12401 Volvo Globetrotter Curtainside "Eddie Stobart" - all in their original packaging
Lot 1001
A Minichamps 1/18 scale boxed Formula One Racing diecast gro9up to include a limited edition 1 of 900 pieces Benetton Renault Sport Jenson Button 2001 Showcar, together with a Jenson Button Benetton Renault Sport B201 Formula One race car, together with a Benetton Playlife B200 Jenson Button First Test Drive, Jerez, December 5th 2000 race car, all housed in the original window display boxes
Lot 1003
A Minichamps Pauls Model Art 1/18 scale Williams F1 limited edition boxed F1 race car group to include a Super Tec FW21 Ralf Schumacher 1999 race car, a First Edition Promotional 1999 Show Car Ralf Schumacher limited edition 1 of 333 released, together with a Williams F1 first edition promotional 1999 show car, Ralf Schumacher limited edition 1 of 323 pieces, all in original window boxes
Lot 7
Henry George Gawthorn (1897-1941) Over the Forth to the North lithographic poster, 1928, condition B+/A-, not backed, framedDimensions:40 x 50 in. (102 x 127 cm.)Note: This railway bridge, crossing the Forth estuary in Scotland, had the world’s longest span when it opened in 1890. It remains one of the greatest cantilever trussed bridges and continues to carry passengers and freight. Innovative in style, materials and scale, the Forth Bridge marks an important milestone in bridge design and construction during the period when railways came to dominate long-distance land travel. In this striking poster, Gawthorn's bold art deco style conveys the industrial aesthetic and structural impact of this remarkable feat of engineering. (Source: UNESCO).
Lot 152
A George III mahogany stick barometer, the scale signed 'A. E. Abraham, Optician, Exeter', with visible mercury tube above the cistern cover, length 96cm.Provenance: The contents of a Cheshire Country House.Additional InformationThere are two small inset patches to the frame, these are possibly where hinges would have been, indicating a cover over the scale. Otherwise, retains a good colour and in good condition.
Lot 101
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Micro David", 1971.Nickel-plated metal. With golden metal chain.Signed on the arm.Detachable sculpture: 17 elements.Measurements: 6 x 2,5 x 1,5 cm.Miguel Ortiz Berrocal showed a special predilection for articulated and detachable sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He drew his inspiration from science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and from 1968 he alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicétera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
Lot 109
IMANOL MARRODÁN, (Bilbao, 1964)."E.L 15, Ref. 75." Emotional landescapes series, 2006.Lacquered painting on aluminium panel.Signed, titled and dated on the back.Measurements: 48 x 77 x 1 cm.Imanol Marrodán is an interdisciplinary artist. He currently lives and works in Vitoria. He has exhibited in countries such as the United Kingdom, France, Germany, Portugal, Belgium, Korea, Argentina, Switzerland and the United States. His work has been shown at international contemporary art fairs such as ARCO, VALENCIA ART, ARTE SANTANDER and DFOTO (Spain), ART COLOGNE and KUNST KÖLN (Germany), KIAF (Seoul, Korea), ArteBA (Buenos Aires, Argentina), BALELATINA (Basel, Switzerland). In 2009 he gave a workshop seminar at the Bilbao Art Foundation entitled "New technologies and applications in contemporary painting". Recent solo exhibitions: Juan Silió Gallery in Santander, Blanca Soto Gallery in Madrid, Krisis Factory in Bilbao. He has been awarded in: V Bienal de Pintura Ciudad de Estella Lizarra; V Bienal de Pintura Cuidad de Albacete; First prize in the Sculpture Competition for the Natural Park of Aiako Harria; III Premio de Artes Plásticas Gobierno de Cantabria .... His work is represented in numerous private and institutional collections, including the Artium, Basque Museum of Contemporary Art; Bilbao Museum of Fine Arts; Caja Castilla La Mancha Collection; Museum of Navarre; Olor Visual Collection, etc. He also intervenes with large-scale works in public spaces: "Plenitud y Vacío, Centro", Aiako Harria Natural Park, Oiartzun. Gipuzkoa; "Conversations between Oteiza and Serra", Sculpture, Amurrio; etc. The series of "codified paintings" is inspired by the I Ching or "Book of Mutations", in Taoist thought. They are resolved with an innovative technique based on two-layer paint for car bodywork. Going beyond representation, which through "emotion cores" takes us into utopia through sensory communication. In "Emotional landscapes" he takes this research to a more refined level, suggesting horizons that only exist in our imagination. The pulsations recorded by an echocardiogram or the hexagrams of the I Ching provide more information about the phenomenological world, about the flowing universe in which we are immersed, than any documentary record of the apparent reality we inhabit. Marrodán's pictorial and photographic work draws on these informative references to make visible the energetic flow that underlies the objects.
Lot 34
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Málaga, 1933 - Antequera, Málaga, 2006)."Bullfighter. Homage to the Niño de la Palma", 1972.Detachable sculpture: 18 elements.Brass, copy 696/2000.Signed and numbered.The patina is worn.Measurements: 28 x 21 x 20 cm (with base).Miguel Ortiz Berrocal showed a special predilection for articulated and detachable bronze sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He was inspired by science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
Lot 97
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Cristina", 1969-1970.Nickel-plated metal, example 2406/9500.Detachable sculpture: 25 elements.Signed and numbered.Measurements: 15 x 8,5 x 6 cm.Miguel Ortiz Berrocal showed a special predilection for articulated and detachable sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He drew his inspiration from science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
Lot 549
Christopher Richard Wynne Nevinson ARA (1889-1946) Building Aircraft: Making the Engine, from the series The Great War: Britain's Efforts and Idealslithograph44.5 x 34.5cmThere was little cause for celebration on New Year’s Day of 1917. By this point, Britain had been at war for three years and had witnessed the appalling and unprecedented deaths of more than half a million of its men – many of whom were scarcely more than children. Not six months earlier, the British had suffered what would be their deadliest day of the First World War, losing 19,240 personnel during the Battle of the Somme and by the end of the day on Monday, January 1st, 1917, the public would learn of the loss of at least 125 more lives with the German sinking of British troopship, Ivernia. With no end in sight, national morale was in steep and rapid decline.Early in 1917, the print series, The Great War: Britain’s Efforts and Ideals, was commissioned by Wellington House, a covert propaganda arm of the government. Comprising sixty-six prints by eighteen artists, including Augustus John, George Clausen, Muirhead Bone and Frank Brangwyn, the series was divided into two sets of portfolios: Ideals and Efforts. Including twelve full-colour lithographs extolling moralistic maxims of freedom, democracy and justice, the Ideals portfolio aimed to mobilise patriotic sentiment and display the war in a positive light through allegory and symbolism. The Efforts, meanwhile, was concerned with the realities of the war, as permitted by governmental censorship. Presented in monochrome, and on a smaller scale than the Ideals, the Efforts comprised a set of fifty-four prints divided into smaller series of six. Each series was concerned with the industry of war and included topics such as Making Guns, Making Soldiers and Building Ships. War, according to the ‘Efforts’ portfolio, was a constructive and creative process.The present lot, Making the Engine was one of Nevinson’s six lithographic prints from his series, Building Aircraft. Having spent nine weeks in France tending to the wounds of French and British troops and a further year in London working as a private in the Royal Army Medical Corps, it was thought that Nevinson’s first-hand experiences of the war afforded his works a compelling and persuasive sense of authenticity. Although the futurist prints created by Nevinson for Efforts and Ideals were constructed to present the war in a generally positive light, they stand in stark contrast to many of his other works created during the war, such as La Patrie and A Taube, both of which depict, with disarming and devastating frankness, the horrors of war. The dissonance between the two representations demonstrates the critical role government censorship played in the production of the portfolio.
Lot 4252
Preußen - schwarzer "russischer" Kürass M 1897/1912 für Mannschaften der Garde Du Corps Schwarz lackiertes Vorder- und Rückenteil mit roter Kordeleinfassung. Das Rückenteil mit schwarz gelackten Schuppenketten, die Schließen messingfarben belassen, das Leinenfutter mit Namensetikett, vernieteter lederner Bauchgurt.USA-Los – weitere Infos hier Guard Du Corps Enlisted Man Black Russian Model Kurass Black painted iron body front and back. Red edge cloth piping. Brass scale straps with black painted center scales leather backed attached with brass hinges. No liner. Brown leather waist belt with buckle.USA lot - more info here
Lot 4253
Preußen - Kürass für Offiziere Vorder- und Rückenteil aus Tombak, die silberne Einfassung mit goldenen Ziernieten befestigt. Das Rückenteil mit an Löwenkopfschildern vernieteten Tombakschuppenketten, die Schließen mit Eichenlaubverzierungen. Vs. Fehlstellen, ohne Innenfutter, beide Schuppenketten gerissen, neuzeitlicher lederner Bauchgurt. Dieser Kürass wurde getragen von den Regimentern GdC, GK, sowie 2. und 6. Officer Kurass Tombac body front and back, silver edges with gilt rivet heads. Gilt scale leather backed straps attached with lion head shields. No liner. Pitting on front side of Kurass. Both straps split in two pieces from leather backing aging. Brown leather waist belt (replacement). Used by GDC, GD KR, 2nd KR and 6th KR regiments.
Lot 1814
Ansichten-Tasse, Untertasse. Nymphenburg. ø 13 cm, Höhe: 9 cm. Form "Becher antik Nr. 11" mit hochgezogenem Henkel an bärtigem Maskaron. Frontal großflächige farbige Landschaftsmalerei mit Weidevieh. Farbige Blumen-Blattbordüren, Goldstaffage. Ritzmarken, Tasse mit undeutlicher Pressmarke mit Rautenschild. Goldränder, Henkel an beriebenen Stellen übermalt. * Partnerauktion Bergmann. Literatur : Hantschmann (1996), S. 137. View cup, saucer. Nymphenburg. ø 13 cm, height: 9 cm. Form "Beaker antique No. 11" with raised handle on bearded mascaron. Frontal large-scale colored landscape painting with grazing cattle. Colored floral leaf borders, gold staffage. Incised marks, cup with indistinct press mark with lozenge shield. Gold rims, handle overpainted in rubbed areas. * Partner auction Bergmann. Literature : Hantschmann (1996), p. 137. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 1892
Ovalschale "Breslauer Stadtschloss". KPM Berlin. Zeptermarke und roter Reichsapfel, Jahreszeichen 1922. Polychrome Blumenmalerei, blaue Schuppenreserven und Goldstaffage. L 27,5 cm. Modell "Antikzierat". Oval bowl "Wroclaw City Palace". KPM Berlin. Scepter mark and red imperial orb, year mark 1922. Polychrome floral painting, blue scale reserves and gold staffage. L 27,5 cm. Model "Antikzierat". .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 1851
Tasse mit Watteau-Malerei. Imitierte Bindenschildmarke, 2. H. 19. Jh. Polychrom bemalt, goldstaffiert. H Tasse 6,5 cm, Ø originale Untertasse 13,5 cm. Zylindertasse mit gewinkeltem Henkel. Unter einer blauen Schuppenbordüre die schauseitige Darstellung eines galanten Paares in einer Landschaft, verso kleine Blumenbuketts. Cup with Watteau painting. Imitated bandage shield mark, 2nd half 19th c. Polychrome painted, gold decorated. H cup 6,5 cm, Ø original saucer 13,5 cm. Cylinder cup with angled handle. Under a blue scale border the on-screen depiction of a gallant couple in a landscape, verso small bouquets of flowers. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 1757
Tasse mit Landschaftsmalerei. Meissen. Schwertermarke mit Punkt, 1763-1774. Polychrom bemalt, goldstaffiert. H Tasse 4,5 cm, Ø originale Untertasse 13,5 cm.. Bauchige Tasse mit Ohrenhenkel. Unter einer korallenroten Schuppenbordüre die Darstellung einer Flusslandschaft mit Architektur und Personenstaffage. Haarriss im Tassenhenkel, minimaler Goldabrieb am Rand. Cup with landscape painting. Meissen. Sword mark with dot, 1763-1774. Polychrome painted, gold decorated. H cup 4.5 cm, Ø original saucer 13.5 cm.. Bellied cup with ear handle. Under a coral scale border depicting a river landscape with architecture and staffage. Hairline crack in the cup handle, minimal gold abrasion on the rim. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 2018
2 Tassen und 1 Mokkatasse mit Schuppenbordüre. Herend. Stempelmarke, 2. H. 20. Jh. Polychrom bemalt, goldstaffiert. H Tassen 6 und 8,5 cm, Ø Untertassen 11 und 14,5 cm. Oktogonale Form. Unter einer blauen Schuppenbordüre Blumenfestons und Streublümchen. 2 cups and 1 demitasse with scale border. Herring. stamp mark, 2nd half 20th c. Polychrome painted, gold decorated. H cups 6 and 8,5 cm, Ø saucers 11 and 14,5 cm. Octagonal form. Under a blue scale border floral festoons and scattered flowers. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 1886
6 Gedecke "Breslauer Stadtschloss". KPM Berlin. Zeptermarke, Anfang 20. Jh. Malermonogramm "MM".Polychrome Blumenmalerei, blaue Schuppenreserven und Goldstaffage. Modell "Antikzierat". 6 Teetassen (H 5,5 cm), 6 Untertassen (Ø 14,5 cm) und 6 Kuchenteller (Ø 18 cm). | Nachtrag 23.10.2022: Bestoßung am Standring einer Tasse ( äußerlich nicht sichtbar)6 place settings "Wroclaw City Palace". KPM Berlin. Scepter mark, early 20th c. Painter monogram "MM".Polychrome floral painting, blue scale reserves and gold staffage. Model "Antikzierat". 6 tea cups (h 5,5 cm), 6 saucers (Ø 14,5 cm) and 6 cake plates (Ø 18 cm). *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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