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Click here to subscribeCARY'S NEW and Accurate Plan of London and Westminster, the Borough of Southwark and the Parts Adjacent. John Cary, May 1, 1787. 815mm by 1245mm. Dissected on linen, hand coloured. Scale about 6.5 inches to a mile. With the original marbled slipcase. The first edition of this famous map, which went through more than 20 editions in succeeding decades.
Alessandro Vitali (Urbino 1580-1650), After Federico Barocci The Crucifixion with Saints Sebastian, John the Evangelist and the Virgin Mary oil on two sheets of paper, laid down on panel, en grisaille and en brunaille, the upper edge extended by 4.5cm 84 x 52.5cm (33 1/16 x 20 11/16in).including the addition Footnotes: Provenance William, 2nd Earl of Dartmouth, and thence by descent to the present owner This unpublished and lavishly refined grisaille oil on paper is a faithful replica of the Christ on the Cross with Saints Sebastian, John the Evangelist and the Virgin Mary in Genoa Cathedral, a large altarpiece executed between 1587 and 1596 by the Urbino painter Federico Barocci (circa 1533-1612). The altarpiece (fig. 1) was commissioned by the future Doge of Genoa, Matteo Senarega, for his family chapel and cost the enormous sum of 1,000 scudi, twice the sum paid around the same time to Annibale Carracci for the entire Farnese Gallery 1. The monumental scale and importance of the enterprise was publicly praised by Senarega in an official letter addressed to Barocci on October 5, 1596, where he stated that 'The panel has only one defect, which because it has the Divine, human praises do not reach it: for this reason, it lives wrapped up between silence and marvel' 2. The precocious fame of the Genoa altarpiece and the efforts poured into it induced Barocci to reuse the composition, a practice made easy by the fact that he used to keep the 1:1 preparatory cartoons of his paintings in his workshop, ready to be proportionally enlarged, reduced, and replicated 3. The presence of the now-lost Crucifixion cartoon in Barocci's workshop in Urbino is attested by a slightly later commission which the artist took over from the local Oratorio della Confraternita della Morte together with his best pupil and associate, Alessandro Vitali (1580-1630), in 1597. Due to the time constraints of the fraternity and its shortage of money, it was agreed that the main figures of the new altarpiece were to be copied from the Genoa prototype. Working after the cartoon, Vitali executed most of the painting, while Barocci retouched the main characters, giving life in only two years (January 1597-April 1600) to a successful spin-off of his previous achievement which was even publicly praised in the painter's funeral oration (1612) 4. The 1:1 autograph replica in oil on paper which was on the art market in the late 1980s and is today in the Kunstmuseen Skt Gallen, Switzerland must date from around the same time. Traditionally interpreted as a preliminary sketch for the final composition, this refined painting on paper shows no sign of pentimenti and is finished in all its parts, suggesting that it was conceived as an autonomous work of art intended for private collectors and amateurs. The case of the Skt Gallen 'sketch' is not isolated. During his life, Barocci executed many works in oil on paper, both studies for entire compositions and individual 'teste di carattere' 5. If some of these works, such as the beautiful study for the Last Supper in the Fitzwilliam Museum, Cambridge 6, or the small bozzetto for the Entombment in the Getty Museum, Los Angeles 7, are clearly part of the preparatory process, showing signs of pentimenti, corrections and areas intentionally left blank, others are fully-finished creations, made in order to fulfil the requests of the market and capitalise the artist's creative efforts 8. This category includes both finished head studies (New York, Metropolitan Museum of Art 9; Stockholm, Nationalmuseum 10; Salzburg, Residenz), autograph coloured reduced replicas of entire compositions 11, and small-size, grisaille replicas, such as the Madonna of the Rosary in the Ashmolean Museum, Oxford, connected to a painting executed by Barocci in Senigallia between circa 1589 and 1595 (fig. 2).12 Whether this beautiful and perfectly refined object was executed by Barocci before or after the completion of the altarpiece is a matter of debate. What is more interesting, however, is that the master executed at least one other autograph version of it (private collection, unpublished), and that both these autograph prototypes were copied again and again by his workshop (France, private collection; Paris, art market, formerly with the Galerie Tarantino; Milan, Museo Poldi Pezzoli, from the Riccardo Lampugnani Collection). Other grisaille replicas of whole or partial compositions, traditionally assigned by Barocci but now recognisable as products of the workshop on the grounds of quality, are in Windsor (Flight of Aeneas from Troy, Royal Collection; 13. another version was recently on the British art market) 14, Washington (The Presentation of the Virgin, National Gallery of Art, from the Woodner collection (fig. 3) 15, Stamford (The Annunciation, Burghley House) 16, and Urbino (A cat, Galleria Nazionale delle Marche). 17 The Crucifixion discussed here belongs to the same category of grisaille workshop replicas of Barocci's more successful compositions, probably as one of the best examples of the group. Its exceptional quality and the metallic coldness of the palette suggest its author is the same person who executed the Washington Presentation. The comparison with the acknowledged work of Barocci's best pupils both the grisailles to be assigned to Alessandro Vitali, mentioned above as the collaborator of the Compagnia della Morte altarpiece made in 1597-1600 after the Genoa composition 18. Vitali's two altarpieces of Saint Catherine in jail and of the Annunciation, both in the Galleria Nazionale delle Marche, Urbino, derived from Barocci's prototypes between 1598 and 1603, show an identical metallic, glazed treatment of the surfaces, as well as an emphasized liveliness and roundness of the cheeks and of the facial types. The close connection between Barocci and Vitali, and the latter's success in quickly establishing an independent career both as a copyist of his master's models and as an independent painter, explain the introduction of minor variations in our Crucifixion: a flock of birds flying around the towers of the ducal palace, and some new buildings on the square. They show Vitali's passion for details and might be connected to the nordicizing Flemish taste of the Urbino court around 1600. The result of such a combination of local tradition and external influences is an exceptionally refined work of art, whose precious and jewel-like quality, similar to the contemporary illuminations by Cesare Franchi or Gherardo Cibo, is enhanced by the use of a paper support and by the adoption of Barocci's elegant grayish-orange palette.For further information on this lot please visit Bonhams.com
Workshop of Filippino Lippi (Prato 1457-1504 Florence)The Crucifixion oil and gold on panel40.7 x 30.4cm (16 x 11 15/16in).Footnotes:ProvenanceCollection Eugen Miller Von Aicholz, (1835-1919), Vienna Collection Camillo Castiglioni, (1879-1957), ViennaTheir sale, Hermann Ball and Paul Graupe, Berlin, 28 November 1930, lot 3, where purchased by Dr Alfred Scharf (1900-1965), by whom soldArt market, London, 1934With Colnaghi, London, 1951-2Sale, Sotheby's, London, 24 February 1971, lot 71, where purchased by Collection of Mrs Alfred Scharf and thence by descent to the present ownerLiteratureB Berenson, The Florentine Painters of the Renaissance, New York and London, 1909, p.149A Venturi, Storia dell' Arte Italiana,, Milan, 1911, vol. VII, part 1, p.677R van Marle, The Development of the Italian Schools of Painting, XII, The Hague, 1931, p.360 A. Scharf, Filippino Lippi, Vienna, 1935, pp.57, 107, no. 27a, ill., fig. 94K. Neilson, Filippino Lippi: A Critical Study, Cambridge, Mass., 1938, p. 149 (as attributed to) A. Scharf, Filippino Lippi, Vienna, 1950, pp. 33, 55, under no. 97 L. Berti and U. Boldini, Filippino Lippi, Florence, 1957, p.98, no. 6 (as attributed to) L. Berti and U. Boldini, Filippino Lippi, Florence, 1991, p.235 (as attributed to) J.K. Nelson, The Later Works of Filippino Lippi: From His Roman Sojourn Until His Death (ca. 1489 - 1504), New York, PhD diss., 1992, p. 322 J.K. Nelson in P. Zambrano & J.K. Nelson, Filippino Lippi, Milan, 2004, p.566 note 20 and p. 599, cat. no. 55.1, ill. p. 407, fig. 328Lippi and his studio collaborators returned to this composition more than once: two other versions exist in the collections at New Haven, Yale University Art Museum (acc. no., 1871.56) and Prato, Palazzo Pretorio Museum, all three being of similar size. The subject is derived from the central portion of Lippi's altarpiece of 1498-1500 commissioned by Niccolò Valori for the chapel that bears his family name in San Procolo, Florence which showed Christ on the cross flanked by the Virgin and Saint Francis, Saints John the Baptist and Mary Magdalen. When Tuscany was briefly annexed to France under Napoleon the altarpiece was broken up and some years later the central part was acquired by the Kaiser-Friedrich-Museum in Berlin, but was destroyed during a bombardment in 1945. Jonathan Nelson believes that these smaller Crucifixion panels that emanate from Lippi's workshop were intended as devotional works in their own right, rather than simply being smaller-scale repetitions of the Valori composition. There is a related silverpoint drawing in the Gabinetto dei Disegni e Stampe, Palazzo degli Uffizi, Florence (inv. 159. E). Dr Alfred Scharf was an art historian, collector and art dealer who emigrated from Berlin to London in 1933, where he remained for the rest of his life. He acquired the panel in the early part of the 20th century but sold it just after he moved to England. Some years after he died his wife came upon it again in a Sotheby's sale in 1971 and bought it back again, and it has since remained within the family.For further information on this lot please visit Bonhams.com
Jean-Louis André Théodore Géricault (Rouen 1791-1824 Paris)Study for the race of the Barberi horses pencil on paper20.9 x 27.1cm (8 1/4 x 10 11/16in).Footnotes:ProvenanceCollection of Aimé-Charles-Horace His de la Salle (1795-1878), Paris (L. 1333)Probably his sale, Christie's, London, 27 November 1880, lot 21Unidentified collector's mark, formerly said to be Philippe Huart (d. 1869)(L. 2084)Collection of Dr Alfred Scharf (1900-1965) and thence by descent to the present ownerThe present study is one of many by Gericault for his unrealised, large-scale painting The Race of the Riderless Horses. He travelled to Italy in 1816-17 and whilst in Rome witnessed the race of the Barberi horses, an annual event marking Carnival in which riderless horses competed with each other in a race along via del Corso. The surviving studies point to an intended composition that was clearly informed by classical bass-reliefs such as the Parthenon frieze; the current drawing reflects the muscularity and energy that can be seen in those sculptures, with two men trying to restrain the rearing horse before the start of the race. When the present work was offered for sale in 1995 (Sotheby's, London, 10 July 1995, lot 169, unsold), Prof. Lorenz Eitner confirmed the attribution to Gericault. We are grateful to Philippe Grunchec for confirming the attribution to Gericault upon physical inspection. Dr Alfred Scharf was an art historian, collector & art dealer who emigrated from Berlin to London in 1933, and he remained there for the rest of his life.For further information on this lot please visit Bonhams.com
Jules Pierre van Biesbroeck (Belgian, 1873-1965) Mother and child signed 'JBiesbroeck' (lower left); with artist's exhibition label (on the reverse) oil on panel 85.4 x 34.6cm (33 5/8 x 13 5/8in). Presented in the artist's original frame. Footnotes: Born in Italy in 1873, Jules Pierre Van Biesbroeck was the son of the painter Jules Evarist Van Biesbroeck. The family re-settled in Ghent when Jules was two, and like his father, he studied at the Academy of Fine Arts in Ghent, exhibiting his first painting at the age of just 14. On his Salon debut in 1888, Van Biesbroeck created a scandal with his large scale work, Le lancement d'Argos, which depicted nude figures, which had to be covered with drapery in order to be shown. Despite this, the young artist received 'special mention'. Van Biesbroeck was recognised for both his painting and sculpture, receiving awards and recognition throughout his career, as well as regular commissions. He was chosen to represent Belgium at the Universal Exhibition in Paris in 1900. Fleeing Belgium on the onset of the First World War, the artist settled in Bordighera in Northern Italy. Van Biesbroeck's first exposure to Orientalism came with a visit to North Africa in 1926, followed by a visit to Algeria in 1927, which radically altered the artist's style. The artist lived and worked in Algiers from 1929-1938, establishing a studio, 'La Volière', which became famous throughout the city. In 1938 Van Biesbroeck returned to Ghent where he remained until his death in 1965. This lot is subject to the following lot symbols: * AR * VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium. AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
Jules Pierre van Biesbroeck (Belgian, 1873-1965)Sisters signed 'JBiesbroeck' (lower left); with artist's exhibition label (on the reverse)oil on panel86 x 28.5cm (33 7/8 x 11 1/4in).Presented in the artist's original frame.Footnotes:Born in Italy in 1873, Jules Pierre Van Biesbroeck was the son of the painter Jules Evarist Van Biesbroeck. The family re-settled in Ghent when Jules was two, and like his father, he studied at the Academy of Fine Arts in Ghent, exhibiting his first painting at the age of just 14. On his Salon debut in 1888, Van Biesbroeck created a scandal with his large scale work, Le lancement d'Argos, which depicted nude figures, which had to be covered with drapery in order to be shown. Despite this, the young artist received 'special mention'.Van Biesbroeck was recognised for both his painting and sculpture, receiving awards and recognition throughout his career, as well as regular commissions. He was chosen to represent Belgium at the Universal Exhibition in Paris in 1900. Fleeing Belgium on the onset of the First World War, the artist settled in Bordighera in Northern Italy.Van Biesbroeck's first exposure to Orientalism came with a visit to North Africa in 1926, followed by a visit to Algeria in 1927, which radically altered the artist's style. The artist lived and worked in Algiers from 1929-1938, establishing a studio, 'La Volière', which became famous throughout the city.In 1938 Van Biesbroeck returned to Ghent where he remained until his death in 1965.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A LARGE CHINESE ‘FAMILLE-VERTE’ PORCELAIN DISH, QING DYNASTY, KANGXI PERIOD, 1662 – 1722Painted with two ladies on a garden terrace, once carrying a tray of fruit within green diaper border, the reverse with floral sprigs and underglaze-blue double circle markDiameter: 31cmCondition ReportUV light inspected. Minor 'nicks' to brown dressed rim and minor scale chips to foot rim. Otherwise good.
A CHINESE GILT-BRONZE AND ENAMEL HEXAGONAL STAND, QING DYNASTY, QIANLONG PERIOD, 1736 - 1795Probably Imperial, either Guangzhou or Beijing enamel work shop, the upper section of hexagonal form, decorated with a posy design, with a gilt bronze jewelled foliate stem, all reserved on a domed enamelled lotus petal baseHeight: 16.5cmFor a similarly decorated teapot with a posy design see Metal Bodied Enamelled Ware, The Complete Collection of Treasures of the Palace Museum, Beijing, 1995, cat. 199, pg. 208Condition ReportUV light inspected. Two scale chips to the lower lobed section of the flower head designs where they meet the gilt-metal mount. The gem stones probably replaced. Gilding rubbed. Otherwise in good condition.
A CHINESE ENAMEL SNUFF BOTTLE AND STOPPER, APOCRYPHAL FOUR-CHARACTER MARK OF QIANLONGOf shouldered ovoid form, painted with two scenes of scholars and attendants, one fishing the other reading, four-character mark in blue enamel, wooden stand (3)Height: 7.7cmCondition ReportUV light inspected. Old shallow scale chip to enamel to left of fisherman to rock work.
A LARGE CHINESE EXPORT ZHANGZHOU ‘SWATOW’ BLUE AND WHITE PORCELAIN JAR, MING DYNASTY, EARLY 17TH CENTURYThe stoutly potted jar set with four lug handles to the shoulder, painted with an aquatic winged dragon amongst cloud scrolls, accompanied by horses and carps, above crashing waves and lotus bordersHeight: 31cmCondition ReportUV light inspected. 1cm scale chip to one lug handle. The body well crazed and stained. The decoration is rather good for this type of late Ming jar, Wanli period, 1573-1619.
A CHINESE BLUE AND WHITE PORCELAIN SAUCER DISHPainted to the centre with a lady and small boy on a garden terrace, observing a carp and phoenix, double circle borders to the rim, the underside with a border of four carp leaping above crashing waves, double encircled Yongzheng six-character mark to baseDiameter: 20.5cmCondition ReportUV light inspected. Burst air bubbles to the interior. 3mm small scale chip to rim at 4 0'clock, the rim, another smaller at 12 o'clock.
A GOOD CHINESE EXPORT ‘IMARI’ PORCELAIN TANKARD, QING DYNASTY, KANGXI PERIOD, 1662 – 1722Painted with a continuous river landscape scene with boatmen and pagodas all before mountains shrouded with cloud scrolls, highlighted in gildingHeight: 17cmCondition ReportUV light inspected. In good condition except a small 3mm scale chip to brown dressed rim.
A SMALL CHINESE EXPORT BLUE AND WHITE PORCELAIN MUG, QING DYNASTY, QIANLONG PERIOD, 1736 - 1795Painted with a boating scene beside a pagoda with later added European enamel decorationHeight: 6.5cmCondition ReportUV light inspected. Firing fault to handle. Small scale chip to interior of mouth rim and another to the foot.
A RARE PAIR OF CHINESE BLUE AND WHITE PORCELAIN ‘SOLDIER' VASES AND COVERS, QING DYNASTY, KANGXI PERIOD, 1662 – 1722Boldly painted in underglaze-blue with four circular panels of court ladies at leisure on pavilion terraces playing a Qin, another group looking at a scroll painting, all reserved against a peony ground flanked by lotus-leaf shaped panels, the domed covers similarly decorated with ‘bronzed’ Buddhistic lion dog knops, all on later giltwood stands (6)Height: 112cmProvenance: Purchased from Christie’s London, 4th November 2010, lot 226, previously with Vanderven & Vanderven Oriental Art, Hertogenbosch, NetherlandsThe term ‘Soldier’ or ‘dragooner’ vase was adopted in the early 18th century to describe types of incredibly large vases after Frederick Augustus I (1670-1733) Elector of Saxony, and King of Poland, an avid porcelain collector, traded a regiment of cavalry for a group of vases from the collection of Freidrich Wilhelm I of Prussia in 1717The present pair of vases are a very unusual type, and would appear to have no direct comparable and rarer than the vases typically now found in the East Asian Porcelain from the Collection of Augustus the Strong, State Art Collections Dresden, Porzellansammlung. See also Charlottenburg Palace, Berlin, GermanyCondition ReportVase 1UV light inspected. With two holes drilled to base. Appears to be sprayed to interior and exterior around the foot rim. The upper body is overall good with no obvious faults/areas of spraying to interior . There are three marker labels inside which correlates to an area of overpainting to the exterior behind the scene of the ladies playing the Qin to the left hand side, confined to some foliage, possibly running down the panel to the lady outside the compound.Some old over-spraying around the foot, with related hairlines, with some retouching which can be seen under UV light. Although hard to ascertain exactly the extent of damage. It is likely that it could be just some consolidation of luting faults, hairlines. Firing imperfection/bubble burst to ladies punting panel, right hand side.The cover has been restored, probably in three, with a replacement lion dog. Typical frits around rims, shoulder and some minor staining.Vase 2UV light inspected. with two drilled holes in the base. Some fluorescence along luting lines but doesn’t appear to be restored to upper body. Small three pointed star crack to shoulder interior, not visible to exterior.Base with one hole visible. No over spraying to exterior. Firing fault to shoulder. Section of rim re-stuck in two pieces, frits and 3cm scale chip to interior of rim, with associated short hairline confined to the rim.The cover with four small areas of the rim over-sprayed. Minor restoration to original lion dog. Otherwise good.Typical frits around rims, shoulder and some minor staining.Please also see additional natural light and UV photographs.Please note our conditions of business and sale regarding condition reports, paragraphs 6 & 14
A collection of Rivarossi (Como, Italy) HO scale rolling stock, comprising 2206 Illinois Central flat car with load, window boxed; 2238 New Haven box car, window boxed; another, window boxed; 2254 Boston and Maine gondola car, window boxed; 2259 Sante Fe stock car, window boxed; another, window boxed; 2299 'Co-Op' tank car, window boxed; 2307 Norfolk and Western caboose car, window boxed; another, window boxed; 2318 Miller High-Life reefer car, window boxed; another, window boxed (11)
Various remote control vehicles, comprising a large scale American-style Intercontinental haulage truck, measuring approx. 128cm from front bumper to end of trailer, a Tamiya Nissan monster truck and various helicopters, together with assorted controls and components; also a scale model WW2 German Third Reich Panzer Tank Condition Report:Available upon request
A boxed Hornby 00-Gauge Tornado Express train set, together with other boxed locomotives and stock, to include Bachmann HO Northern 4-8-4 locomotive and Old West Passenger Cars, others by Roundhouse, Marklin, Silver streak etc.; together with two Burago 1:18-scale model cars (Mercedes-Benz 300 SL Touring (1950) and Ferrari 250 Testa Rossa (1957) etc. Condition Report:Available upon request
A varied selection of model vehicles, to include Burago 1:18-scale Lamboghini Countach (1988) and Bugatti EB 110 (1991), 1:24-scale Ferrari GTO (1984) Rally, others by Matchbox, Maisto etc.; together with a large Tri-ang tinplate tipper truck, Tri-ang Minic clockwork blue convertible and a Nintendo Game Boy (with Donkey Kong Land game cartridge) Condition Report:Available upon request
A Chinese porcelain vase decorated with phoenix amongst blossom on a dragon scale or feathered oxide red ground, the shoulders with geometric zigzag decoration, raised on a circular foot, 16.5 cm diameter, together with four various Chinese carved wooden vase stands and a black basalt relief work decorated miniature teapot, 17 cm long x 7.5 cm high CONDITION REPORTS The vase only - has losses / scratches to the enamel throughout, firing faults to include a chip to the base, however, this is covered in glaze so clearly during manufacture. Also has a slight dimple / bump to one area. In need of a clean. General wear and tear conducive with age and use to include firing faults, minor losses, etc. See images for further detail.
Various mixed collectibles to include a brass artillery shell case trench art poker stand, height 28cm, a set of brass balance scales on stand, height 47cm (af), a large oak brass bound box with vacant interior, 13 x 47 x 35cm, a pewter coffee pot with ebony handle, height to top of ebony finial 24cm, a cold painted spelter figure of a young boy with basket of grapes, height 40cm (af), also a brass telescopic fishing pole/hook in leather case, length when extended 79cm (6).Condition Report: The holding pin for the scale beam is missing. The boy figure has a repaired arm.
Nine various English and French cabinet plates, including a Sèvres hand painted floral plate with pink and gilt border, a Paris porcelain cabinet plate with fish scale blue border, a Lerosey cabinet plate with a hand painted pheasant above gilt initials within a purple border, a Lerosey purple and white cabinet plate with ribbon border, and four others (9).Condition Report: Purple lerosey plate is scratched in a few places if one looks closely, pink serves plate has a repaired chip to underside rim and scratches Paris plate with turquoise fish scale border has a chip to underside rim, pheasant lerosey plate has scratches and fading top tinted purple border, other three have a variety of crazing, scratches and one chip
Matchbox (Super Trucks Series) group of four Jeeps including "Maddog"; "Fly-n-Hi", plus others; "Monsters of Wars" Pick-up "Invader" and larger scale "Grave Digger" with accessories and figure - conditions are generally Near Mint to Mint on generally Fair to Excellent blister cards (one has bubble loose). (6)
Maxwell (India) small scale Lincoln Continental "Police" Car (Matchbox copy) - red body, clear windows, grey interior, green roof-light, with "Police" on hood - Excellent (couple of very minor marks around edges) in a Near Mint box and Fun Ho (New Zealand) 56 Landliner Coach finished in orange, silver, black wheels - Good (does have small chips on roof edge panels) in a Good Plus to Excellent presentation window box. (2)
Small scale plastic made (Hong Kong) 101 Leyland Royal Tiger Coach - orange; 102 Volkswagen Camping Car - fluorescent green; 103 Rolls Royce Silver Cloud - blue; 105 Jaguar XK140 - orange and 107 Austin "Taxi" - red - all come with black wheels - conditions appear to be generally Near Mint to Mint in generally Good to Excellent carded boxes. (5)
Polistil smaller scale group to include RJ2 Ferrari 312 Racing Car - red, silver, racing number 1; RJ7 BRM Racing Car - silver, green, racing number 14 and RJ18 Ford Capri - metallic bronze - conditions are generally Near Mint to Mint in generally Excellent (couple of small marks around end flaps) carded picture boxes. (3)
Schuco (1/66th scale) Ford Capri group of 3 (1) Mark 1 - white body, red interior; (2) same as (1) but green body and (3) racing car finished in mid-blue, white bonnet, racing number 3 - conditions appear to be generally Near Mint to Mint in Excellent to Near Mint rigid perspex cases (two are Brazilian issue cases). (3)
Schuco a group to include (1/66th scale) Renault 17 Coupe - green, black interior; Audi 100 Coupe - metallic blue, red interior; Mercedes Bus - red, clear windows and Articulated truck & Trailer with Silo style load - blue cab, grey trailer, red plastic hubs - conditions appear to be generally Excellent to Mint in generally Good Plus to Near Mint rigid perspex cases (one is in Brazilian issue case). (4)
Aviation. Royal Dutch Airlines Boeing 777-300ER Collectable Scale Model. In Original PackagingAll autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
A LARGE AND FINE GEORGE III EMBROIDERED NEEDLEWORK PICTURE OF 'INSIDE OF A STABLE'BY MARY LINWOOD (1755 - 1845), AFTER GEORGE MORLAND, DATED '1803'worked in worsted wool and silks in a variety of stitches, with stitched signature lower centre and George Morland stitched signature middle right, in a glazed giltwood frame144 x 198.5cm Catalogue NoteThis 'tour de force' of a tapestry is a life size version of George Morland's painting 'Inside of a Stable' held by The Tate Gallery, London. The painting was first exhibited at the Royal Academy in 1791 and given the size of the current lot and the length of time Miss Linwood took to create her works, it is quite probable that she saw the original painting at the RA when it was first exhibited.Mary Linwood was born in Birmingham to Matthew and Hannah Linwood, being baptised on 18th July 1755. Her father was a linen draper and her mother an embroiderer but later founded and ran the Priory Boarding School in Leicester where Mary went to study. In the early 1770's, Mary joined the staff at The Priory, by then a well respected finishing school, and eventually went on to run the school as well as her own gallery in Leicester Square, London, that she opened in 1809.Mary specialised in creating full scale versions of paintings by leading artists such as George Morland, Sir Joshua Reynolds and Thomas Gainsborough. She submitted several of her 'pictures' to the Royal Academy in the late 1780s which, although rejected for not being 'a painting, drawing or sculpture' were universally praised by the then President, Sir Joshua Reynolds, and many other artists who happened to see them. In 1789, she created the much celebrated Salvator Mundi, after Carlo Dolci, for which she was offered 3000 guineas, around £400,000 in today's money. It is now in the Royal Collection.After a number of well received exhibitions in London and other major British cities, attracting the attention of George III and Queen Charlotte along with many others from the higher echelons of society, Mary took the plunge and invested in her own gallery at Sir Joshua Reynold's former studio in Savile House, Leicester Square, London. This was specifically to show her 'needle paintings', to promote the art of embroidery and quite probably her finishing school in Leicester. The gallery quickly became a highlight of the London tourist trail being featured in a number of publications including 'Curiosities of London' and Mogg’s 'New Picture of London' and 'Visitors’ Guide to its Sights' which states: “This beautiful style of needlework is the invention of a Leicestershire lady, and consists of fifty-nine of the finest pictures in the English and foreign schools of art, possessing all the correct drawing, just colouring and light and shade of the original pictures from which they are taken; in a word, Miss Linwood’s exhibition is one of the most beautiful the metropolis can boast and should unquestionably be witnessed, as it deserves to be, by every admirer of art.” A watercolour of a view of Mary's gallery (V&A, London, accession number p.6-1985) shows several of her pictures including the lot being offered here and a 'biographical sketch' in La Belle Assemblee issued in November 1821, says that “The Farmer’s Stable, after Morland, is as fine a copy of the original picture as can be conceived, perhaps, in any branch of art; but, considered as a piece of needlework, its truth and effect in drawing and colouring, and the clear making out of the minute detail, is a rare curiosity".The present lot is listed in the 1812 catalogue ‘Mary Linwood’s Gallery of Pictures in Worsted, Leicester Square’, No.10 ‘Farmer’s Stable, Morland’.
A SCALE MODEL OF THE THREE-MASTED FULL RIGGED SHIP 'ACAMAS'FIRST HALF 20TH CENTURYwith wooden masts, decks, lifeboats and other details, mounted in an ebonised glazed case56.3cm high, 85.8cm wide, 28.4cm deep Catalogue Note'Acamas' was built at Mary Port in 1897 by T. Ritson & Son. Eventually, the ship was sold to Norway. She was posted missing in 1918 on a passage from Rio to New York.
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