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Lot 161
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) JAR OF SUMMER FLOWERS, 1963 Inscribed with the inventory number EE89, oil on canvas(76cm x 56cm (30in x 22in))Provenance: Mrs Patricia BlackFootnote: Exhibited: Arts Council of Gt Britain, Edinburgh, Joan Eardley Memorial Exhibition 1964, no.111 Talbot Rice Gallery, Edinburgh, Joan Eardley Retrospective 1988, no.136 Arts Council/South Bank Centre, London, Joan Eardley Exhibition 1988/89, no.136 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 162
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) CHILDREN PLAYING IN THE STREET Charcoal and watercolour(17.5cm x 22.5cm (7in x 9in))Exhibited: The Scottish Gallery, Joan Eardley - Paintings and Drawings, 2007 Provenance: The Artist's Studio ED1414Footnote: Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 163
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) GIRL WITH STRIPED JERSEY Pastel on glass paper(26.5cm x 23cm (10.5in x 9in))Footnote: Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition 1964, no.71 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 164
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) SEA, CATTERLINE Oil on board(18cm x 18cm (7in x 7in))Footnote: Exhibited: The Scottish Gallery, Christmas Exhibition 1967, no.48 Note: This painting is recorded in the Joan Eardley archive EE165 In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 165
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) HAYSTOOKS Pen and ink and watercolour(23cm x 57cm (9in x 22.25in))Provenance: Artist's studio ED1267Footnote: Exhibited: The Scottish Gallery, Joan Eardley 1981, no.6 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 166
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) THE OIL LAMP Oil on board(38cm x 20cm (15in x 8in))Provenance: Browse & Derby Ltd, LondonFootnote: Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 167
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) THISTLEDOWN CATTERLINE Oil on board(93cm x 82.5cm (36.5in x 32.5in))Provenance: The artist's family Cyril Gerber Fine Art, GlasgowFootnote: Note: With the Studio inventory No: EE308 In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
Lot 423
1977 FORD TRANSIT MK1 NIMBUS CAMPERVANCurrent V5 present.The vendor has provided the following:This is believed to be the only existing Nimbus Ford Transit MK1 .The man who built it did many Ford Escort camper conversions prior to this but this is almost certainly the only Transit conversion that was built. He passed away shortly after it was built. It was built for and exhibited at the 1977 Camping and Caravan show at Oylmpia .The First owner bought it from the show. Then it was purchased by a Doctor at 2 years old In 1979 with 6000mls on the clock,We purchased it in 2018 , It as done 81,000 miles ,The 1.6 X Flow was Engine fully rebuilt at 73,000 miles,Fully Documented handwritten service notes and Ford Handbook all Appliance Handbooks. Always garaged ,Mot and Tax free but just been Mot’d for peace of mind and new classic Lucas battery fitted.Original interior, Seats have always been covered so are like new.4 berth twin hammocks in the roof ,Seats can be converted to a double or two singles,Twin gas hob and Cooker grill ,Fridge is Electric or gas,Water Tank and sink Electric or manual pump,Elsan toilet.There are a couple areas of paintwork that may be needed but this doesn’t stop you from using and enjoying as we have. We highly recommend that you view in person any potential purchase and take time to inspect paperwork and make any relevant enquiries.**This lot will go through our auction on Saturday 24 April****NB: We do not guarantee mileage and ask that you make your own enquiries**
Lot 981
19th centuryContinental marble topped washstand / sink with water cistern above, enamelled sink and pine cupboard frame 90 cm wideCondition report: Please see additional images for damage- multiple cracks and repaired (filled) cracks to the marble top. Inside the cupboard a large hole has been cut in the base. A couple of small splits to the back of the wood.
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5080 item(s)/page