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Lot 113
Scalextric - Two boxed Scalextric 1:32 scale slot cars. Lot comprises of Scalextric C2825 'James Thompson' Seat Leon BTCC Special Edition numbered 776 of 1200 to bottom of box; together with C2588 Mitsubishi Lancer Evolution VIII WRC RN105. Both models appear to be in Mint condition, presented within Good - Very Good boxes (Mitsubishi has cracks to one end) with some age and storage related wear.(2) (This does not constitute a guarantee)
Lot 309
Scalextric - Two boxed Scalextric Seat Leon BTCC 1:32 scale slot cars. Lot includes C2705 'Jason Plato RN4'; together with C2704 'J.Gene RN9'. Models appear to be in Mint condition in Mint perspex cases with Very Near Mint outer sleeves with some very minor wear. (2) boxes. . (This does not constitute a guarantee)
Lot 85
SCX - Scalextric - 2 x boxes Seat Rally cars, # 83190.20 Ibiza in Gulf livery, # 6061 Cordoba 2001 edition in Club Scalextric livery. The cars appear Mint, the Perspex display case for the Cordoba has a crack on the top, the other box is good with some light creasing. (This does not constitute a guarantee)
Lot 5
"Seat of Wisdom (Sedes Sapientiae)". Carved wooden sculpture. Romanesque. 12th century.65,5 x 25 x 23 cm.This image could have its geographical origins in Catalonia if we compare it, for example, with the Virgin of Santa Maria de Lluçà which is kept in the Episcopal Museum of Vic (inv.1958). Both have the characteristic chubby cheeks, and the central treatment of Mary’s tunic follows the same models. The Child has not been preserved on the Virgin of Santa Maria de Llucà, but would have been placed in the same position as this one, and the clothing would undoubtedly have followed the same symmetrical model. Even so, the provenance is difficult to pin down as the typology of these images had quite a few elements in common. There are similarities with the Xhoris Madonna and Child at Grand Curtius Museum in Liege, and which recent studies have dated circa 1000 to 1100.From the 11th century, with a movement that culminated in the Gregorian Reform (1073), the image of the Virgin in Majesty and its symbolism was developed. The Sedes Sapientiae, or seat of wisdom, became the image of Mary par excellence. In this way Mary is both the means of the incarnation of the Lord and His main support. This important sculpture is a faithful example of the characteristic Romanesque stylistics of the Virgin in Majesty. Mary is seated on her throne of glory, and is also a throne for her son who, following the Romanesque canons, is seated at the center of his mother’s lap. Both are in a forward-facing position, in total symmetry and independent from one another. There is no interaction between Mother and Child. The apparent simplicity of the clothing is made up for by the quantity of soft and fluid folds which once again are perfectly symmetrical and identical in both Mary and the Child’s clothing. The frontal attitude, the throne and the severe and inscrutable look accentuate their majesty and invite devotion and respect from the faithful.Some examples which have similarities to this image are, for example the Vierge de Viévy, dated in the late 11th century, which is kept at the Dijon Musée d’Art Sacrée, (inv. D980.15.1) and catalogued as a Historic Monument of France. Https://art-sacre.dijon.fr/representations-de-vierge-xie-xvie-siecleProvenance:- Private collection Brussels, mid-20th century.- Bought in 1964 by the current owner of the antiquarian Alfredo Noirjean in Barcelona.Accompanied by an original photograph of the sculpture while it formed part of the Belgian collection, by the photographer Robert Kayaert from Brussels, on the back of which the antiquarian Noirjean wrote out a certificate of authenticity.
Lot 268
Two 18th century provincial fireside chairs, 19th century, pierced splat wheel-back with turned legs and stretchers 110 h x 65 (seat height) x 42 (seat depth) together with an elm Windsor chair approx 92 h x 46 (seat depth).January Antique and Collectable Sale 27/01/2022These need attention although the chairs are sturdy and without worm, they would benefit from a good clean and polish.
Lot 379
Adolf Loos and Heinrich Kulka for Friedrich Otto Schmidt, an Arts and Crafts oak fireside or chimney armchair, circa 1931, with leather back and bowed seat, studded with bronzed nails, the geometric incised front stretcher uniting skate square section legs with ogee tongue feet, supporting shaped plank arms, scrolled tongue finials, 67cm high, the seat 31cm high, 58cm wide Note: Austrian architect and designer Adolf Loos (1870-1933) was one of the great pioneers of modernism in Continental Europe, influencing generations of post World War One architects the world over, including the Bauhaus in Germany. His apprentice and collaborator Heinrich Kulka, studied in Vienna and worked under Loos including in the development of the famous Raumplan analysis of spatial design. Designed for the Melena and Hugo Semmler apartment in Pilsen in 1931 and used in the Werkbund housing estate in Vienna in 1932 (where Kulka was Loos' assistant and collaborative furnisher for houses 49 to 52), the chimney chair combined the craftsmanship and functionality of the Arts and Crafts movement; which Loos pioneered over the Austrian Secessionist movement decades earlier. For examples of this chair see: Vitra Design Museum, catalogue reference MAT-1032 (an identical example); Loos-Pilsen Connections, Gallery of West Bohemia, Pilsen 201, p.154 (illustrated); Werkbundsiedlung Wien 1932, exhibition catalogue Wien Museum, p.207, fig.215; Apartment Semler: Rukschcio, Schachel, Adolf Loos, p. 637 and 646 as well as Adolf Loos, apartments, p.101
Lot 260
Scotland, Jacobitism & Jacobite - Association Copy, The Psalms of Katherine Walkinshaw, the Mother of Bonnie Prince Charlie's Mistress, Brady (Nicholas, Chaplain in Ordinary, D.D., editor) & Tate (Nahum, Poet-Laureat, editor), A New Version of the Psalms of David Fitted to the Tunes used in Churches, London: Printed by Jacob Ilive, 1741, authority leaf dated 1696 but with George I's Royal arms, black-ruled title-page with some Gothic Black letter, pp: [ii], 232, [1] (Gloria Patri), [3] (index and advert), contemporary black morocco gilt, the covers outlined with a triple-fillet and enclosing a foliate centrepiece and spandrels, six-compartment spine of raised bands enclosing foliate bosses, all-edges gilt, marbled endpapers, 8vo, [1] Provenance: 1) Katherine Walkinshaw (née Paterson; c. 1683-1780), wife of Lt-Col. John Walkinshaw (1671-1731), of Barrowfield, a Jacobite who saw action and was captured in the 1715 Rising. Their youngest daughter Clementina Walkinshaw (1720-1802), later known as the Comtesse d'Alberstorf, in 1746 was living at Bannockburn House, Stirling, the seat of her uncle Sir Hugh Paterson, Bt (c. 1685-1777), when she first met Prince Charles Edward Stuart (1720-1788), and would later go on to be his mistress, fathering one child by her. Ownership inscription to flyleaf: Ka: Walkinshaw, then annotated in a later 18th century hand: of Barrowfield/1741; 2) W. Stuart of Allanton/1799, dated ink MS ownership inscription, numbered: No. 39; 3) H.W. Wilson, 20th century pencil ownership inscription.
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217092 item(s)/page