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![[OO GAUGE]. ASSORTED 1/76 SCALE DIECAST & OTHER MODEL VEHICLES most mint or near mint (some dusty from display), all unb](https://cdn.globalauctionplatform.com/24ab5ba5-6a82-4778-93a6-ae1b00ec19bb/0ce76e45-4f0f-47e3-bfea-aea000a26bed/468x382.jpg)
![[OO-9 SCALE]. A MISCELLANEOUS COLLECTION comprising two kit-built 0-6-0 tank locomotives, maroon livery; two coaches, green](https://cdn.globalauctionplatform.com/24ab5ba5-6a82-4778-93a6-ae1b00ec19bb/5fa7d6e3-60dc-40b7-8485-aea000a2d6d9/468x382.jpg)
Lot 11
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Homage to Arcimboldo", 1976-1979.Bronze, copy 893/1000.Signed and numbered.Measurements: 29 x 16 cm (larger diameter); 6 x 12 cm (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 the 1900s, 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 must be assembled and disassembled in order to penetrate their invisible space. This sculpture, made up of 30 interlocking bronze elements, is a tribute to the unmistakable Giuseppe Arcimboldo, an artist who painted imaginary portraits composed of flowers and fruit during the 16th century.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 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 61
RUUD VAN EMPEL (Breda, 1958)"Study for woman" n.1. 2000.Cibachrome, photographic print on dibond, on plexiglass, copy 2/7.Signed, dated, numbered and titled on the back.Reproduced and inventoried on the artist's official website.Size: 118 x 84,5 cm.A typical feature of Ruud van Empel's work, which we can observe in the composition in question, is the perfection and idealisation of the figure depicted and its surroundings down to the smallest detail. "Van Empel's virtuosity lies in his ability to combine in photography the kind of ideas anchored in painting (historical references, the power of a gaze, the use of colour) and film (multi-image structure and the power of a narrative), and to do so on a large scale," writes Deborah Klochko in the catalogue "Ruud van Empel Photoworks 1995-2010". He studied at the Academie voor Beeldende Kunst St. Joost in Breda in the 1970s. In the late 1980s he moved to Amsterdam to work on his career as a visual artist. Her first photographic series were The Office (1995-2001), Study for Women (1999-2002) and Study in Green (2003). The Groninger Museum presented her first solo exhibition in 1999. She made the international breakthrough with her series World-Moon-Venus, which was shown at the George Eastman House in Rochester, New York. Curator Deborah Klochko invited him to participate in the exhibition entitled "Picturing Eden" at the George Eastman House. In particular, the World series, which explores the theme of innocence, made a deep impression. Van Empel placed neatly dressed black boys and girls in paradisiacal settings of untouched, non-existent nature. Interest in and appreciation of the series continues to this day all over the world. The breakthrough in the United States also brought renewed attention to Dutch museums. Van Empel has had solo exhibitions at the Het Valkhof Museum in Nijmegen, the Groninger Museum and the NoordBrabants Museum in 's-Hertogenbosch. Since the international recognition of his work gave Van Empel the status of an artist with his own independent formal language, he has progressively expanded his oeuvre with the series Theatre, from 2010 to 2013, and Souvenir, which offered a charged image of his youth in Breda. This series was acquired by the NoordBrabants Museum. But there is always a darker, if not always obvious, side to this. Ruud Schenk, curator of the Groninger Museum, wrote about this aspect in reference to the series Study for Women (2000-2002): As a viewer, you feel that there is something wrong with the depiction of the women: they are not completely real, but tend to be a mixture of real women and shop window mannequins. This generates a certain discomfort, an uneasiness that comes close to what was described as "das Unheimliche" (the uncanny) in the early 20th century". Although the photographic images seem to capture an era, it is hardly possible to assign a date to any of them. This timeless element in Van Empel's work has taken on a different meaning in his recent work, as he addresses themes such as transience and vanity in his Still Life series of 2014, and also portrays older people as in the portrait of an older woman in the Sunday series (2012), or in the Nude series (2014), in which he questions the model's pose and the aesthetics of the nude. His work has been reviewed in countless publications and he has held important international exhibitions, not only in institutions specialising in photography but also in renowned museums of modern visual art.
Lot 149
The Macallan Folio 1Distilled and bottled by The Macallan Distillers Ltd.In original presentation case (damages) accompanied by booklet. Good labelling. Level: into neck. 700ml. Single malt, 43% volume1 bottleFootnotes:Notes from The MacallanThe first release in a 24 part series that celebrates and revisits The Macallan's original print, press and film advertising campaign; mapping the story of The Macallan from a remote farmstead on the River Spey to a whisky that is enjoyed around the world.The first advertisement for The Macallan appeared in 'The Times' newspaper on the back page next to the crossword, on 27th March 1980. The format was unusual - small scale black and white ads, beautifully written in precise, witty prose. This was to be the forerunner of a long running and highly successful campaign; masterminded by creative director, David Holmes, and copywriter, Nick Salaman, of the then London agency, Holmes Knight Ritchie. Running through to the early 1990s, the campaign helped to establish The Macallan's credentials as a brand.This lot is subject to the following lot symbols: ††VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 155
Three Chinese Export porcelain teapots, 18th century, each of bullet form: the first in a Kakiemon palette decorated with vases and flowers; the second in a Mandarin palette, the figural reserves against a pink scale ground; the third famille rose, lacking cover (all a/f). (3) First, length across handle and spout 20cm
Lot 449
A SEXTANT by Heath & Co. London, the ebonised frame with brass and silvered scale, and bakelite handle, in mahogany case with plaque inscribed Iver C. Weilbach & Co., brass loop handle and examination certificate dated 1967, 11" wide (Est. plus 21% premium inc. VAT)Appears to be in good condition, wear to black of frame, scratching to box
Lot 350
An Edwardian silver gilt replica of the Tudor Cup, the font shaped cup with Latin inscription above scale decoration, on a reeded pedestal circular foot, Chester 1904 by George Nathan & Ridley Hayes, weight 333.9g, height 10cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2
A Seiko Chronograph 100m wrist watch. The watch having a round face with a blue dial, baton markers to the chapter ring, three subsidiary dials, date aperture to three and tachymeter scale. The watch set within a two tone stainless steel case with bracelet strap. Case measures 45mm including crown. Set within original box with paperwork. Ticking at time of cataloguing, good used condition.
Lot 347
Small box of train/locomotive/rolling stock books, to include: GWR, LNER Southern locomotives to scale etc. Rolling Stock Worth Modeling Volume 1, The British Railway Locomotive 1803-1853 etc together with a tray of oddments, to include: plastic figures, horses, Daily Mail Newspaper 'Apocalypse' etc. (B.P. 21% + VAT)
Lot 34
A large and impressive painting in six sections depicting an extensive royal procession with the Sawai Maharaja Jai Singh Prabhakar, Maharajah of Alwar (reg. 1892-1937), signed by R. Sahai, the Alwar State Painter Alwar, Rajasthan, circa 1903-1909gouache and bodycolour with gold on heavy paper, signed R. SAHAI STATE PAINTER ALWAR RAJPUTANA, six separate panels forming one painting 815 x 67.3 cm.; 26 feet 8½ in. by 26½ in.(6)Footnotes:ProvenanceFormerly the Estate of George McFadden, New York, 1980s.Following in the Mughal tradition of grand royal processions this 8-meter-long panorama depicts the full complement of participants and royal carriages associated with the traditional durbar of the Maharajas of Alwar.Maharaja Jai Singh is depicted in full regalia including his trademark prominent pearl collar and triple strand pearl and emerald necklace with a large diamond pendant. The absence of the Star of India would indicate that the scene is painted after his installation at the gaddi in 1903 at the age of 21 by Lord Curzon, but before his investiture as Knight Commander of the Most Exalted Order of the Star of India in 1909. This is confirmed by the photograph captured by Bourne and Shepherd at the Coronation in Delhi in 1903 (fig. 1) showing Maharaja Jai Singh and Colonel Christopher Fagan (Assistant Political Agent and Consul to Alwar in 1901) together with four ministers from the Alwar court. The photograph reveals a remarkable likeness to the key figures of the procession. The faces of the Maharajah and the minister on the right in the photo matches the likeness of the two figures in the royal howdah. In adddition the three other ministers, with their distinctive faces and turbans can be seen on horseback following the Maharajah in the first and second row. The scale of the panorama and treatment of the prominent figures, horses, elephants, and carriages are rendered in fine detail that is clearly inspired by the celebrated artist Ghulam Ali Khan, who worked at the Alwar court for twelve years between 1840 and 1852 and completed a number of important illustrated manuscripts. A large cache of over 30 unrecorded paintings of his work are preserved in the Alwar State Museum and it is most likely that the 'state artists, R. Sahai' drew upon them for inspiration. This is particularly evident in the finer details of the principal figures, the interior of the Rath carriage, and the lanterns attached to the tusks of the Maharajah's elephant. Comparison can be made with a superb large scale architectural study of the white marble and red sandstone cenotaph of Raja Bakhtawar Singh at Alwar (see William Dalrymple and Yuthika Sharma, Princes and Painters in Mughal Delhi, 1707-1857, New York 2012, p. 48, fig. 11.) Other than the present lot there seems to be scant representation of Maharajah Jai Singh in painting. Even the artist, R. Sahai, has almost no other recorded works published or referenced. However, he, like many artists in the employ of Maharajahs in the early 20th century was quick to embrace the new medium of photography and create a hybrid style that allowed for a combination of fine detail on a scale that had been previously reserved for wall murals.The procession travels from the Maharajah's residence of Moti Doongri, shown in the second panel high on the hills as a white colonnaded edifice, and finishes at the city palace in the centre of town barely visible behind the grove of trees in the fourth panel. The artist has chosen to show the troops heading in the opposite direction to present the full extent of the procession, as well as highlighting the multiple buildings in the azure hills and verdant plains of Alwar. Barely discernible in the second panel from the left is a simple miniaturized procession in the foreground, which may have been added to illustrate the traditional route.The procession is led by the standard bearers mounted on three elephants holding the coat of arms and Alwar state flags. Then follows mounted infantry on camels and horses with cannons; three lines of four elephants led by musicians, ordinary mahouts and the small royal howdah; unmounted favoured horses of the court; horse-drawn royal howdahs; two royal sedans; regular infantry in blue and red coats; infantry bands; lancers; court attendants in purple tunics; Maharajah Jai Singh and his entourage; mounted dignitaries and ministers; royal elephant carriage (rath) and the horse-drawn Lanchester carriage with attendants; mounted lancers and rearguard with the state flag.A photograph recording a visit to Alwar in 1897 by Lord Elgin, the Viceroy, (fig. 2), shows the same celebrated rath double-decker state elephant carriage transporting a large group of Europeans with Jai Singh's father, Maharaja Mangal Singh Prabhakar. It is shown in the procession decorated in the same manner with skirting around the wheels and long embroidered cloths over the elephants with identical patterns. An album of photographs from December 1919 by Vernon & Co captured the wedding of Maharaja Jai Singh with many prominent dignitaries from other states in attendance. One image in particular shows him being transported in the same elaborate gold-plated repousse palanquin with rampant lions at the sides and the state coat of arms on the front panel (see Bonhams, 9th April 2008, lot 162).Additionally, recently restored film footage from 1938 entitled 'Indian Darbar' the procession by Jai Singh's successor, Maharaja Tej Singh, captured the scene in colour and shows the full troop in identical garb and the elephants with the same textiles. The narrator suggests that the procession to the Durbar occurred three times a year.The imposing hills in the background shows the various royal palaces, forts and hunting lodges, and the city of Alwar nestled behind the trees. R. Sahai incorporated the key architectural features of the region including the Bala Qila, the ancient fort set along a steep cliff and the Purjan Vihar, the densely walled garden before the city. The Moti Doongri or Lansdowne Palace, reputedly inspired by Scottish castles, which remains intact in this processional scene, was later demolished by Jai Singhe in favour of a even grander palace which in fact failed to materialize.Despite being highly regarded for his scholarship and a superb orator, salacious stories abound regarding Maharaja Jai Singh's decedent lifestyle and his love for motorcars. The infamous story of him using a fleet of six Rolls Royces for garbage collection around the city of Alwar after being insulted by the staff of the car marker's London showroom, seem to fit his flair for the outrageous. His love for hunting also involved motor cars, and he had a dozen long-wheelbase Hispano-Suizas modified with spotlights and revolving shooting chairs. Sadly, his pursuits of his person interests did not match his stewardship of state affairs. He emptied the state coffers on shikars (hunting expeditions) and on palaces, many of which he never occupied or even visited. As a result, he had to impose heavy taxes on his people to repay the loans that led to multiple agrarian uprisings and dented his popularity. Since he was unable to pay his taxes, the British Political Department installed F. V. Wylie as Prime Minister, removing Jai Singh's control of the treasury, that eventually lead to the Maharajah being forced into exile in 1933. He died in Paris in 1937 and his body was returned to Alwar for a subdued state funeral.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 72
A fine Mughal style gem-set gold dagger hilt Indiathe grips of curved flaring form with bifurcated pommel, the cross-guards of waisted form terminating in domed quillons, profusely inlaid to each side with rubies forming a scale design overlaid with emeralds of floral and foliate form, the sides of the grips with emerald bands, the ends of the quillons with diamonds, gold tested as 23 carat, in fitted box 14.8 cm. long; 344 g.Footnotes:ProvenanceThe Al Thani Collection. PublishedAmin Jaffer and Amina Taha-Hussein Okada, From the Great Mughals to the Maharajahs, Paris, 2017, pp. 268-9, no. 200.Tesori dei Moghul e Maharaja. La Collezione Al Thani, exh. cat., The Doge's Palace, Venice, 2018, p. 285, no. 196. Amin Jaffer (ed.), Treasures from the Al Thani Collection, vol. 1, Beijing, 2018, p. 301, no. 200.ExhibitedFrom the Great Mughals to the Maharajahs, Grand Palais, Paris, 29 March - 5 June, 2017.Treasures of the Mughals and the Maharajahs, The Doge's Palace, Venice, 9 September 2017 - 3 January 2018.Treasures from the Al Thani Collection, The Palace Museum, Beijing 2018, 17 April 2018 - 18 June 2018. Inspired by Mughal pieces of the 17th Century, when jewelled daggers were reserved for the emperor and imperial family as well as for gifts indicating royal favour, the present lot is exquisitely fashioned after the cloven-pommel type. Hilts of this type were probably originally formed of two separate pieces of nephrite or ivory, the grip plaques of which protruded, thus culminating in a split pommel. They may also have been inspired by 'eared-daggers', which originated in Spain. These kinds of bifurcated hilts first appear in paintings from the 1620s depicting the Mughal emperor Jahangir (r. 1605-27), who is himself shown wearing or receiving such a dagger, for example in the Padshanamah (Folsach, Meyer and Wandel, Fighting, Hunting, Impressing: Arms and Armour from the Islamic World, 1500-1850, Denmark, 2021, p.236). An example of this kind of hilt can be found in the Metropolitan Museum of Art, New York (1984.332), forming part of a dagger that belongs to a group of jewelled gold objects likely made in the court workshops of Jahangir (D. G. Alexander, Islamic Arms and Armour in the Metropolitan Museum of Art, New York, 2015, pp. 206-207). A further example is within the British Museum (2001,0521.35).For two more examples see S. Kaoukji, Precious Indian Weapons and other Princely Accoutrement, London, 2017, pp. 130-137, cat. 41 and 42. The intricate, imbricated design of the ruby gem settings combined with emerald accents is also reminiscent of the decoration on a 16th/17th Century staff handle found in the same publication, cat. 174.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 73
A fine Mughal style gem-set gold tulwar hilt Indiathe circular pommel of slightly convex form with central domed boss held in place by screw with domed finial, the cross-guards of flaring form, profusely engraved and inlaid with rubies, emeralds and paste to each side with floral interlace, the cross-guards with fish-scale design, gold tested as 21-23 carat, in fitted box 16.5 cm. long; 316 g.Footnotes:ProvenanceThe Al Thani Collection.PublishedAmin Jaffer and Amina Taha-Hussein Okada, From the Great Mughals to the Maharajahs, Paris, 2017, pp. 268-9, no. 201.Tesori dei Moghul e Maharaja. La Collezione Al Thani, exh. cat., The Doge's Palace, Venice, 2018, p. 286, no. 197.Amin Jaffer (ed.), Treasures from the Al Thani Collection, vol. 1, Beijing, 2018, p. 301, no. 201.ExhibitedFrom the Great Mughals to the Maharajahs, Grand Palais, Paris, 29 March - 5 June, 2017.Treasures of the Mughals and the Maharajahs, The Doge's Palace, Venice, 9 September 2017 - 3 January 2018.Treasures from the Al Thani Collection, The Palace Museum, Beijing 2018, 17 April 2018 - 18 June 2018. This hilt follows in the tradition of those found on a typically Indian sword known as a tulwar, depictions of which can be found on wall paintings such as those in the Ajanta caves, dating to the 5th Century. Hilts of the type after which the present lot is fashioned appear frequently in paintings from the reign of Emperor Jahangir, indicating his reign to be the origin of this form. For further discussion see S. Kaoukji, Precious Indian Weapons and other Princely Accoutrement, London, 2017. Our tulwar hilt matches the work of the High Mughal period. The Mughal period embodied a fascination with nature, with Emperor Jahangir particularly expressing a keen interest, being an animal lover and student of natural history; the details and designs of flowers in the surface of hilts, as seen beautifully replicated in the present lot, are often recognisable as individual species. For further discussion see W. Blunt, 'The Mughal Painters of Natural History', The Burlington Magazine, Vol. 90, No. 539, Feb 1948, pp. 48-50. Comparable jewelled lotus flower designs can be found on the pommel of a dagger in the Metropolitan Museum of Art, New York (1984.332).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 14A
Strange, Thomas Arthur"English Furniture, decoration, woodwork and allied arts during the last half of the 17th century, the whole of the 18th century and the early part of the 19th century", McCorquodale & Company 1950, illustrated throughout, maroon cloth, gilt titles, dj not price clippedHoward, F E & Crossley, F H "English Church Woodwork ...", Batsford 1933, illustrated throughout, blue cloth, blindstamp title to front board, gilt titles to backstripDyos, H J & Wolff (ed) "The Victorian City, images and realities", Routledge & Keagan Paul 1973, 2 vols, illustrations, shocking pink ep, tweed cloth boards with purple pastedown and gilt titles, djs not price clippedSykes, Christopher Simon"Private Palaces, Life in the Great London Houses", Chatto & Windus 1985, illustrations, pictorial ep, brown cloth, dj not price clippedChambers, James "The English House", Thames Methuen 1985, illustrations, saffron-coloured cloth, dj not price clippedJardine, Lisa "On a Grander Scale the Outstanding Career of Sir Christopher Wren", Harper Collins 2002, illustrations throughout text, pictorial ep, blue cloth, gilt titles, dj not price clipped (7)
Lot 519
ATLAS EDITIONS COLLECTIONS; twenty-five scale models of military vehicles in original boxes and cellophane wrappers, to include a Schwimmwagen TYP 166, an AMD 35 Panhard 178, a GMC CCKW 353, an Sd Kfz 234/2 Puma, etc, also an Ultimate Tank Collection Pz. Kpfw. V1 Tiger Ausf. E 1944, in original box and cellophane wrapper and a small folder of information leaflets relating to the vehicles in the collection (2).
Lot 520
ATLAS EDITIONS COLLECTIONS; twenty-five scale model circus vehicles to include 'Harris's' AEC Mammoth and Load, a Scammell Contractor, 'Austen Brothers', Scammell Pioneer & Dodgem Trailer for T Whiteleg & Sons Ltd, etc, all in original boxes, some in original cellophane wrappers, also a small cased set of Classic Car Model Collection, with six diecast model vehicles.
Lot 521
ATLAS EDITIONS COLLECTIONS; twenty-eight scale models of fire engines, including a Mercedes-Benz Unimog, a Karrier Gamecock, a Volvo B11, a Bedford RLHZ 'Green Goddess', etc, all in original boxes with cellophane wrappers, also a small folder of information slips relating to the collection (28).
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