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Lot 4287
Bruder a group of 1/16th scale and similar plastic Construction Toys including 2 x Caterpillar Graders, Caterpillar Bulldozer, Bruder Wheeled Shovel, Fendt Turbomatic Tractor and Trailer, John Deere Tractor, Leitwolf Snow Mobile and a JCB Fastrac - Excellent to Near Mint in generally Good boxes. (8)
Lot 4294
Road Legends 1/18th scale group (1) 92168 1968 Shelby GT-500KR - metallic green, white body stripes, (2) 92188 1967 Chevrolet Camaro Z-28 - white with orange body stripes, (3) 92068 Chevrolet Nomad 1957 - orange with chrome trim and white side flash - Near Mint to Mint in Excellent boxes. (3)
Lot 4296
A mixed 1/18th scale group (1) Road Legends 92148 1953 Ford Pick-up Truck - cream with red interior and hubs, (2) ERTL American Muscle 7262 1970 El Camino SS454 Pick-up - dark red with black bonnet stripes, (3) 7260 1969 Hurst Olds - white with gold body stripes - Near Mint to Mint in Good to Excellent boxes. (3)
Lot 4298
Revell 1/18th scale group (1) 8803 1955 Ford Thunderbird - pale yellow, (2) 8833 1969 Corvette Cabriolet - red, (3) 08821 1965 Ford Mustang Convertible Soft Top - red with white hood, (3) Jouef Revolution 48825 Ferrari 330 P4 - red, racing number 21 - Near Mint to Mint in Good to Excellent boxes. (3)
Lot 4299
A mixed 1/18th scale diecast group (1) Mira 9101 1950 Chevrolet Carryall Suburban - metallic blue, (2) 1955 Buick Century Taxi - yellow, (3) 1954 Chevrolet Corvette - metallic blue, (4) Road Tough 1964 Shelby Cobra 427 S/C, (5) Anson Lotus Super 7 1973 - Excellent Plus to Mint in Good to Excellent boxes. (5)
Lot 4300
A mixed group of 1/18th scale models to include Majorette Cadillac Eldorado 1955 - white with red interior, Bburago 3031 Porsche 356B Cabriolet - purple, Maisto Special Edition Corvette ZR-1 - red and a Jaguar Mk2 1959 - cream with red interior, a 1/12th scale Motorcycle - Suzuki VS1400 Intruder and 6 x unboxed 1/18th scale models mainly Bburago including Mercedes 600 SL and Chevrolet Corvette - Excellent to Mint in Good to Excellent boxes where applicable. (11)
Lot 4316
A mixed group of 1/24th scale models and similar including Polistil McLaren Chevrolet M & F Can Am - orange, Porsche 95 "Canon", Tonka Polistil Ferrari, Ford Scorpio dealership style models, 3 x ERTL AMT 1/25th scale models built from kits, plus others - Excellent to Near Mint in Fair to Good boxes. (8)
Lot 4322
A mixed group including 1/43rd scale to include Gama Mini 1021 BMW 325i Coupe - champagne gold, 1106 Opel Kadett - bronze, Polistil 1/40th scale Fiat Racing Model Xenita Commodore 5-litre Power Grunt - made in Australia, Skoda Octavia made in Zech Republic model, Trax Australian Motor Sport, Luso Toys plus others - Excellent to Mint in Good to Excellent boxes. (26)
Lot 4334
Exclusive First Editions (EFE) 1/76th scale Bus group to include 17901 Opentop Routemaster LT Sightseeing Tour, 16515 Leyland Atlantean - Trent, 15803 Leyland PD1 Lowbridge - East Midland, 20502 AEC Regal (BET) - South Wales, 18306 Leyland TS8 Tiger - Western Welsh, plus many others - Near Mint to Mint in Good to Excellent boxes. (21)
Lot 1122
Six boxed Britains 1:32 scale diecast farming models / model sets to include 42024 Equestrian Assortment Gift Set, 43219 Kane Trailers 50th Anniversary Model, 43221 Fastbale Non-Stop Bale-Wrapper Combination, 43239 Land Rover And Horse Set, 40784 Case IH MXU 125 Tractor and 43154A1 David Brown 1412 Tractor (diecast ex, boxes vg), together with 2 x Britains Farmyard 1:32 plastic model sets (42079-1HD & 40965-1HD), a quantity of unboxed Britains plastic figures, play worn mid 20th C metal horse & cart, ROS Fiat-Hitachi diecast model, etc
Lot 49
An Omega Speedmaster Professional gentleman's stainless steel wristwatch, movement no. 39183713, circa 1979, the signed black dial with baton markers and outer minutes track, subsidiary seconds, minutes and hours dials, the bezel with tachymetre scale, the caseback engraved "FLIGHT-QUALIFIED BY NASA FOR ALL MANNED SPACE MISSIONS THE FIRST WATCH WORN ON THE MOON", manual wound, the case 42mm, on original Omega bracelet with end links stamped 633Watch appears to be working although we cannot guarantee the working condition of any watch. Subsidiary dials start and reset correctly. Surface scratches to case and bracelet.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
Lot 2565
An early 20th century cast iron scale model of a cannon with later painted decoration, width 35cm.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 172
Fantastic example of fishing machine manufacturing history! The Airex Division of The Lionel Company was influenced in 1947 by a man named Bache Brown who was making fixed drum spinning reels in Europe in the 1930’s, they were popular and sold in Europe as well as The United States. Mr. Brown sold his company to Lionel in the 1940’s and large-scale spinning reel fishing manufacturing was born. The Airex Company began making The Bache Brown Mastereel and it quickly became the benchmark of today’s spinning reel. This item has its original papers, Airex Brake Dressing tin, extra spool, cloth bag, and box which measures 5"L x 5"W x 3.5"H. Issued: c. 1940Dimensions: 4"L x 4.5"W x 3"HCountry of Origin: New Jersey, USAManufacturer: Lionel CorporationCondition: Age related wear.
Lot 290
Very interesting early lure from England, with blue scale, yellow diamond back, external bottom weight, diving lip, double line rings on nose, and two treble hooks. Not the usual construction seen in the States! Dimensions: 2.5"LCountry of Origin: Alnwick, EnglandManufacturer: Hardy Bros.Condition: Age related wear. VG.
Lot 293
This lure is greenish body with black stripe down its back, scale print on the sides. dark vertical lines, and orange belly. The eyes appear to be glass, the spoon on the front is engraved, "Heddon Dowagiac," and there are three treble hooks attached to the bottom. The box measures 6"L x 2.25"W x 1.5"H, has a bass jumping, red sides, and reads, "Genuine Heddon Dowagiac Minnow." Dimensions: 4.5"LCountry of Origin: Michigan, USAManufacturer: HeddonCondition: Age related wear.
Lot 298
Fantastic early plastic clear yellow body with black stripe down the back, glass eyes, and scale details on the sides. Comes with two treble hooks, wire leader line, and two whirling spoons. The box measures 4.75"L x 2.25"W x 1.25"H, depicts an Up Leaping Bass, red edges, and stamped 9109P. Issued: early 20th CenturyDimensions: 4"LCountry of Origin: Michigan, USAManufacturer: HeddonCondition: Age related wear.
Lot 302
Nice looking gold tone lure with brownish head, yellow glass eyes, red mouth. This lure has three hooks, an unmarked diving lip, and scale details. Dimensions: 6.25"LCountry of Origin: Indiana, USAManufacturer: Creek Chub Bait Co.Condition: Age related wear. One tiny pointer below mouth, otherwise EX.
Lot 323
Nice looking small lure with metal nose and wire leader. Body is painted black on top, green sides, pink to yellow belly with scale design throughout. The glass eyes are yellow and there are two hooks attached to the belly. Dimensions: 3.25"LCountry of Origin: USAManufacturer: South Bend Bait Co.Condition: Age related wear. VG.
Lot 341
These realistically colored curved body lures, have glass eyes, gold and copper scale, a black stripe down the back, two hooks in reinforced hardware and metal plate on the face. The longer lure measures 4"L. Country of Origin: Indiana, USAManufacturer: South Bend Bait Co.Condition: Age related wear.
Lot 344
These realistically green scale lures have curved bodies, dark green backs, metallic shimmer on their bellies, two hooks in reinforced hardware and metal plate on the face with glass eyes. The longer lure measures 4"L with glass eyes. Country of Origin: Indiana, USAManufacturer: South Bend Bait Co.Condition: Age related wear.
Lot 347
These realistic curved square body lures, both have yellow-orange bodies, with a red-black stripe down the back, black embellishment of the eyes, and gold scale detail. The longer lure measures 4"L with glass eyes, the shorter lure has tack painted eyes. Both have two hooks in reinforced hardware and metal plate on the face. Country of Origin: Indiana, USAManufacturer: South Bend Bait Co.Condition: Age related wear.
Lot 352
Yellow brown with scooped diving face, gill slits, tack eyes, and measurements of 8.75"L. Black-orange lure with jointed body and bottom fin. Last is a brown-orange lure with scale finish and wire leader. All lures have three treble hooks, two on the belly and one rear. Issued: 20th CenturyCountry of Origin: USACondition: Age related wear.
Lot 109
An impressive Victorian silver and parcel-gilt presentation cup and cover Charles Frederick Hancock, London 1872, designed by Raffaele Monti (1818-1881), rim of base incuse stamped HANCOCKS' & CO 39, BRUTON ST LONDON and Я90 Vase form, the removable cover surmounted by the winged figure of Nike, the Greek goddess of Victory, a circlet of laurel leaves in one hand and a long palm frond in the other, two Greco-Etruscan handles to the upper body supported by twin-tailed mermaids, a sculptural medallion to the back and front of the main form, the first featuring Perseus rescuing Andromeda after slaying Medusa, the other depicting the foundation of Athens, with Athena and the olive tree and Neptune thrusting his trident into the ground to create a spring, the whole richly embossed and chased with floral and foliate ornament in both polished and matt silver, all highlighted in parcel-gilt, atop an elaborately knopped spreading circular pedestal base, upon a later wood plinth, with associated twin-handled metal banded fitted case, height excluding wood plinth 86.5cm, weight 236oz. Footnotes: The design and manufacture of grand presentation silver reached the peak of its popularity in the mid-19th century. At the top end of the silver market, sculptural trophies and testimonials dominated this period; trophies awarded for competitive achievements such as horse racing, and testimonials presented to worthy individuals. 'These silver sculptures, bulky, glittering and proud, celebrated the achievements of the Victorian industrialist, soldier and sportsman and demonstrated the virtuoso skills and techniques of the contemporary silversmith' (Patterson, p.59). The subject matter chosen for these pieces was always on an epic scale, often figural compositions featuring dramatic mythological tales or key historical moments. Heroes from history were frequently staged in mounted combat against man or beast, often within a battle scene or historical diorama. Whatever the scene portrayed, each element was meticulously designed and modelled, with every minuscule detail intricately cast and hand-chased for absolute realism. These trophies were a vehicle to not only showcase silver as a national art form, but also to symbolise and represent Britain's place as a trailblazing manufacturing nation in the industrial age – art and industry combined to spectacular effect. The Hancock silver presentation trophy cup and cover on offer is therefore a superb example, as it fulfils all the above criteria. The goldsmith Charles Frederick Hancock (British, 1807-1891), the prestigious manufacturing retail silversmith and jeweller of Bruton Street and Bond Street in London, was known for the 'manufacture of plate and jewellery of a superior class, and is extensively patronised by the nobility and gentry, being noted for the taste and quality of its productions. Artists of celebrity are engaged as modellers of groups and designs for ... presentation pieces, racing prizes, &c. Among the modellers may be noted especially H. H. Armstead R.A.; C. B. Birch A. R. A.; Signor Raffaele Monti; Eugene (Lamy) and Marshall Wood' (Gilda Aurifabrorum, p. 97). Hancock had previously been a partner at Hunt & Roskell, but the partnership had been short-lived and he had left to set up on his own. Such was the quality of his work that on 13th August 1849, only eight months after establishing his own business, he was awarded the Royal Warrant of appointment from Queen Victoria. He was blessed with patronage from gentry, celebrities and the nobility of Europe, topped by being awarded the sole manufacturing rights to the Victoria Cross in 1856. Hancock was particularly well known for specialising in high quality trophy and presentation plate, for which he won numerous medals at the respected International Exhibitions: the Council Medal 1851; Gold Medal d'Honneur Paris 1855; Juries prize medal 1862; gold and silver medals Paris 1867 and Vienna 1872. Collaborating with famous artists and sculptors of the day was an award-winning business strategy and one he successfully employed on this piece, engaging the services of both Raffaele Monti (1818-1871) and Owen Jones (1809-1874). The cup and cover on offer appears to have had various incarnations, being one of Hancock's most popular and impressive presentation pieces. From research, it becomes apparent that this design was commissioned on a number of occasions, but was always subtly altered to an individual's specification - hence no two appear to be the same. The formative design for the current lot appears to originate from the 'Goodwood Races: The Chesterfield Cup' of 1866. The drawing of it in the 'Illustrated London News' (18th August 1866) shows it to be almost identical to this one, differing in a few aspects such as the absent mermaids by the handles, and the plinth (see fig. 1). The accompanying text describes it thus: 'It is a large silver vase manufactured by Messrs. C. F. Hancock, Son, & Co. It is oval shaped, with Greco-Etruscan handles, and surmounted by a winged figure of Victory, holding a palm-leaf in one hand and a laurel crown in the other. On each side is a medallion, one representing Perseus riding on the winged horse Pegasus to liberate the captive Andromeda; the other, Neptune creating the horse by striking the ground with his trident. These medallions and the statuette were designed and modelled by Signor Monti ... The rich ornamentation of the neck, handles and other parts was designed by Mr. Owen Jones.' The following year, what is described as the 'Goodwood Cup, 1866' is illustrated in 'The Art-Journal Catalogue of The Paris Universal Exhibition 1867' page 316, where the cup now 'includes' the mermaids by the handles (fig. 2); it may be that it was felt the aesthetic balance of the piece was improved by the addition. The version on offer here is possibly the one illustrated from that 1867 exhibition and later hallmarked, the only difference being that the original plinth is missing. Hancock's notably received a gold medal for their pieces in the Exhibition that year. Further investigation has also uncovered that a very similar cup and cover was later exhibited in the 1871 London Exhibition (fig. 3). On this example the cover finial is different, and the two main scenes (also by Monti) instead depict the signing of the Magna Carta; a fitting subject, as the cup is described as a testimonial to 'W.H. Smith, M.P. for Westminster' from his constituents. In addition, a further comparable model sold at Sotheby's London as Lot 139, on May 20th, 2020, titled 'The Royal London Yacht Club Jubilee Cup', which was originally awarded in 1887. As specified in 'The Art-Journal Catalogue' earlier cited, the designer and modeller of this lot is Raffaele Monti (1818-1871) a sculptor, author and poet, who was born in Switzerland. He studied under his father, Gaetano Monti (1776–1847) of Ravenna, a pupil of Bertel Thorvaldsen, who worked on Milan Cathedral and on monuments initiated under Napoleon. Monti moved to London in 1846 where he executed a marble sculpture of a Veiled Vestal Virgin for the Duke of Devonshire, which the Duke displayed in his villa west of London, known as Chiswick House. For further information on this lot please visit Bonhams.com
Lot 27
A pair of French Empire gilt bronze candlesticksCirca 1810the anthemion cast flared nozzles with detachable drip pans above milled collars, the tapering column supports with panelled scale and foliate decoration and conforming lower milled collars, the dished bases with oak leaf outer borders on foliate case plinth feet, 26.9cm high overall (2)For further information on this lot please visit Bonhams.com
Lot 66
Harriet Goodhue Hosmer (American, 1830-1908): A carved white marble figure of 'Puck' together with an unsigned companion pendant figure of 'Will o the Wisp' (third version)Circa 1864The figure of Puck seated on a toadstool, with scallop shell headdress and bats-wings, holding a stag beetle in his right hand, his left hand resting on a lizard, on oak leaf square plinth base, titled to the front and signed to the rear H. Hosmer Fecit Roma, the figure of Will o the Wisp with flaming curling hair and bats-wings seated on an acanthus leaf rusticated pedestal and titled square plinth base, the toe of the former now lacking and the finger to the latter detached but present 81.5cm and 78cm high respectively (2)Footnotes:ProvenancePhillips Son & Neal, Contents of Park Hall, Hayfield, Derbyshire, 5th April 1978.The present lot, comprising a pair of figures, one signed, the other unsigned but similarly attributed, are from a series of playful compositions by America's foremost female Neoclassical sculptor of the 19th century, Harriet Hosmer, based on themes of mystical folklore and playful literature. Hosmer created several conceptions in marble examining the idea of 'the fairy', with her depiction of Shakespeare's 'Puck' from A Midsummer Night's Dream perhaps being the most well-known of these which was conceived and first executed in 1855. The figure was to become so popular that it was replicated over thirty times. Copies were commissioned by a number of Royal patrons including Albert Edward, Prince of Wales (later King Edward VII) who visited Hosmer's studio in Rome and ordered a Puck for his rooms at Oxford.The sculptures were purposely designed on a small scale specifically for multiple replications in order appeal to upper-middle class patrons to grace their drawing rooms and parlours. The whimsical treatment of the subject matter however as married with high quality of workmanship which was intended to appeal to the most demanding of British and American clientsBy the time, Hosmer conceived the first of her three variations of her pendant figure to 'Puck', the figure of 'Will o' the Wisp'(from 1856, 1858 and 1864) she was on her way to becoming one of the most renowned and admired professional sculptors of her day, not only in American but also in Europe. Born in Watertown, Massachusetts, Hosmer's mother and three siblings died during her childhood. Despite being a delicate child she was encouraged and mentored by her physician father, Hiram Hosmer, to pursue a life outside the constraints of female society. As a result, and most unusually, she had a full academic education, physical training and was widely travelled. Hosmer's father encouraged her artistic vision and supported her wish to go to Rome to become the pupil of the sculptor John Gibson. When in Rome, Hosmer became friends with the ex-pat colony of European artists and writers that included Bertel Thorvaldsen, William Makepeace Thackeray Georges Eliot and George Sand. In Florence she was the frequent guest of Elizabeth Barrett and Robert Browning. She also importantly nurtured the talents of a group of American female artists which included Edmonia Lewis, Anne Whitney, Emma Stebbins and Vinnie Ream. It was this circle which the writer Henry James later called 'a sisterhood of American lady sculptors'.LiteratureSherwood, Dolly, Harriet Hosmer: American Sculptor, 1830-1908, Pub. Columbia, Missouri, 1991.Kasson, Prof. Joy, Marble Queens and Captives: Women in Nineteenth-Century American Sculpture, Pub. Yale University Press, 1990.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 514
BERLIOZ HECTOR: (1803-1869) French Composer. A rare and extremely fine A.M.Q.S., `H. Berlioz´, one page, oblong 4to, Vienna, 3rd February 1840, to Ch. Walter, in French. Berlioz has very carefully and cleanly penned a ten bars musical quote, which he entitles `Thème de l´adagio de Romeo et Juliette (scene d´amour)´ (Translation: `Theme of the adagio of Romeo & Juliette (love scene)) Berlioz also annotates to the heading the musical tempo `Andante´. Signed and inscribed by Berlioz `Pour l´album de Mr. Ch. Walter, avec mille remerciements de la part de son dévoué H.Berlioz´ (Translation: `For Mr. Ch. Walter´s autograph album, with a thousand of thanks from his devoted H.Berlioz´) Also dated in Berlioz´s hand. EX Berlioz composed his choral symphony Romeo et Juliette in 1939. It was premiered on 24th November 1939. This large-scale work is regarded as one of Berlioz's finest works, and is widely considered his most comprehensive and detailed programmatic piece. The composition of Romeo et Juliette was made possible by the generous gift of 20,000 francs by Niccolo Paganini after hearing a performance of Harold en Italie in Paris in 1838, the great virtuoso had publicly knelt before Berlioz and hailed him as the heir of Beethoven. Paganini died shortly after, and did not read or hear the piece. Berlioz used the money primarily to repay his debts, and afterwards was still left with a good sum of money, which he used to allow himself to put his full focus towards working on "a really important work", unobstructed by his usual time-consuming obligations as a critic. The present Autograph Musical Quote was signed only two months after its premiere.
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