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Lot 125
An 8 inch radius Bell Pattern (No.1) sextant by Heath & Co, London: serial number 4259, the black lacquered bell frame with brass arc inset silvered scale calibrated to 150°,signed and numbered as per title and inscribed 'E T Marshall RN, fitted magnifier, mirrors and shade, in a fitted mahogany case with sighting tube, accessories and binoculars, calibration certificate dated December 1898, the top of case inset with personalised brass plaque, together with original leather carry case.
Lot 245
A scale model of the Mevagissey Lugger FY150 'Margaret' by D Proctor: fully rigged above open deck with correct fixtures and fittings, planked hull painted black to waterline and brown beneath, raised on a mahogany plinth with dinghy and inscribed plaque, overall size, 70 x 58cm.*Notes- Built in 1903 by Henry Roberts in Mevagissy. She was sold in 1950 and in 1977 purchased by a gentleman who restored her and commissioned this model to be made in 1986.
Lot 249
An early 20th century scale model pond yacht of the Nova Scotia fishing and racing gaff rigged schooner 'Bluenose': fully rigged over one piece deck, the hull painted black to waterline and red beneath with lead weighted keel, the bow inscribed in gilt 'G Tanner', raised on a wooden cradle, 127cm x 114cm.*Notes- the Bluenose was built by Smith and Rhuland in Lunenberg, Nova Scotia and launched on the 21st March 1921. Captained by Angus Walters she became a celebrated racing vessel and an important Canadian symbol during the 1930s.Reputedly there were three members of the Tanner family aboard the Bluenose and this model is believed to have been made by one of them.*Provenance- From the estate of George Stanley (1907-2002) Dean of Arts at the Royal Military College of Canada and designer of the Canadian National flag.
Lot 252
A cased scale waterline model of the German Battle ship 'Bismark': finely detailed with 15 inch fore and aft gun arrangement, conning tower aerial masts and correct fixtures and fittings, simulated planked deck with emblems, the hull painted grey to waterline, set on a moulded and painted swell within a glazed case with hand painted panorama to backboard, the case 47 x 144 x 49 cm, raised on square leg supports.
Lot 38
An Edwardian 1/12th scale model of the 10-ton Bristol Channel One Design class 'Coquette': standing rigged with furled sails over simulated planked deck with fixtures and fittings, the hull painted black to the waterline and copper coloured beneath, raised on a wooden stand, 122 x 107cm in a glazed display case on stand with brass plaque ' Coquette'. 10 tons. 1900-1906. Designed, built and owned by Harold Clayton .L.O.A 35'-0'', L.W.L 26'-0'', Beam 8'-9''. Draft 6'-0''. Disptnt 8.5 tons. Sail Area 834''. 10 Firsts 3 Seconds in 13 starts & in cruising about 12,000 miles', the case 148 x 128.5 x 40 cm, raised on an associated table , overall height 224.5cm, also a lithograph print of the hull design mounted on card and inscribed as per title and signed 'H Clayton' 27.5 x 20cm
Lot 39
A fine builder's R.N.L.I presentation scale model of the Hydraulic Steam Lifeboat 'City of Glasgow , 1894': gilt brass funnel, capstan, anchor, binnacle and fittings with side grab ropes, the hull painted in RNLI blue red and coral pink, polished brass rudder, raised on turned brass support within an ebonised glazed case, presentation plaque inscribed 'Hydraulic Steam Lifeboat City of Glasgow' Built For The Royal National Lifeboat Institution, by R & H Green, Blackwall Yard, London , 1894', model length 100 cm , the case 40 x 124 x 47.5, raised on a turned leg presentation table, 131cm overall height. Together with a facsimile blue print 'Proposed Hydraulic Life-boat for the service of the Royal National Lifeboat Institution' , 61 x 104cm, two copies of 'The Life-Boat and its Work' by Sir John Cameron Lamb, one with personalised dedication to Sir Fitzroy Clayton, four black and white photographs of the Filey pulling lifeboat 'Hollon The Third' (in use 1907-1937) being hauled ashore and related ephemera.*Notes- At the end of the 19th century the RNLI began considering the use of stem powered lifeboats due to the number of times that the pulling of sailing boats towed to rescue was undertaken by steam powered tugs. In June 1888 a design by R & H Green of Blackwall, London was selected and the first hydraulic steam lifeboat 'Duke of Northumberland' was ordered and completed in 1889. During summer trials in 1890 the Duke of Northumberland impressed the Harwich committee and in 1894 the RNLI's second steam lifeboat 'City of Glasgow' arrived at Harwich on the 7th November, 1894. Funded through the Glasgow Lifeboat Saturday Fund and designed by RNLI architect George Lennox Watson, she was built by R& H Green at a cost of £2,639 10s 0d. The City of Glasgow was beset by many problems during her service when in March 1895 on returning to the station her condenser tubes started leaking. Later on in the same year alterations were needed to improve her trim and whilst returning from service in October the exhaust pipe cracked and needed repairs. In 1897 the port inlet joint started leaking so much that she needed to be returned London for repairs. On the journey the problem became such an issue that she needed to be grounded on a mudbank near Sherness and subsequently towed to R&H Green's yard. Despite her issues, 'City Of Glasgow' undertook a number of services during the period 1894 to 1897 and after repairs 1898 to 1901, rescuing thirty -two lives. Technical issues were to lead to her replacement in 1901 when she was withdrawn from service and eventually sold for £100. The facsimile blue print is signed and dated 'HDC 27.6.88' indicating that Harold Clayton had put forward his own design to the RNLI for the proposed steam lifeboat.*Provenance- Clayton family descent* A similar model can be seen in the Science Museum (Object number 1912-130) which has a white painted hull below the water line rather than the coral pink of the model here.
Lot 480
signed and dated 21.9.1966gouache on card30 by 19cm With Clarke's arrival back in South Africa in 1962 from Europe, the artist was faced with the harsh realities of the stringent, punitive laws that affected every aspect of people of colour's lives at the time. The late 50s and throughout the 60s saw the implementation of forced removals, with the Nationalist government enforcement of the Group Areas Act directly impacting Clarke's beloved Simon's Town and the life he had created there. Many of the works created by the artist during this period were portrayals of the turbulent political climate and the exclusions of apartheid South Africa. While many of these works carried a political message, this wasn't the only framework within which his works could be interpreted, as the artist points out "I was not just involved with the politically inspired pictures because there were other concerns too: the drama of life itself. There are all kinds of social demands made on people, whoever they might be". The subjects of Clarke's works often possess a sense of group identity, with individual figures lacking identifiable features. The artist portrays people through a humanist lens of dignity and subtle humour, where tough times are offset by moments of happiness. Clarke would often escape the scenes of hardship that surrounded him by infusing his works with nostalgia of his childhood. For the artist, bathers represented his youth and a longing for days of freedom, rid of the anxieties of life for a 'coloured' artist during this time. In Bathers (lot 480), Clarke?s colourist and graphic approach is emphasised through lush colour choices and simplified planes. The work is centred around a scheme of simple, bold shapes, showing four bathers arranged against a vibrant orange beach scene. Clarke works with a brilliant palette, modelling his forms with tones of the same colour and flattening the surrounding environment by using slight variations of a disquieting orange, making it difficult for the viewer to distinguish a horizon. In this way, continuous, flat areas of colour blend space, with distance only defined by the scale of the figures. The surrounding environment is also seemingly washed with the warmth of the afternoon sun, with the sea and the sand reflecting the colours of the sky as the sun begins to set. Clarke's resolute use of thick layers of gouache permeates this work with the intensity and emotional evocation that his works are known for. Clarke's contributions to the South African art scene extended beyond painting and illustration, as he was an equally respected writer and poet who inspired and mentored many artists during his life. His gentle critique and generosity extended to many young artists, as well as well-established artists and friends. Bathers (lot 480) was gifted to Kees de Jong, a Dutch poet, who travelled to South Africa in an old Landrover. The current owner of the work recalls de Jong and Clarke's shared adventurous spirit, and their becoming fast friends after meeting, often spending hazy afternoons writing together and exchanging ideas. This is one of many stories about Clarke's willingness to engage with fellow creators, and this small, impactful work contributes to Clarke's role as a senior statesman of the South African art community and his lasting impact on those that surrounded him.-AC Hobbs, Philippa and Rankin, Elizabeth (2011), Listening to Distant Thunder: The Art of Peter Clarke, Johannesburg: Fernwood Press, pp. 99-117
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