Sammlung Schaffernicht - - Sammlung von 32 Publikationen zum Wiener Aktionismus und seinem Umfeld. Verschiedene Orte und Verlage, ca. 1969-2016.Die umfangreiche Sammlung enthält u.a.: I. Weibel, Peter und Valie Export. Wien. Bildkompendium Wiener Aktionismus und Film. Frankfurt, Kohlkunst, 1970. - Einband leicht berieben, sonst gut erhalten. - II. X-Screen. Film Installations and Actions in the 1960s and 1970s. Edited by MUMOK and Matthias Michalka. Köln, König, 2004. - III. Wiener Aktionismus. Band 1: Von der Aktionsmalerei zum Aktionismus. Wien 1960-1965. Band 2: Der zertrümmerte Spiegel. Wien 1960-1971. Klagenfurt, Ritter, 1988-1989. - IV. Rudolf Schwarzkogler. Innsbruck, Galerie Krinzinger, 1976. - V. Rudolf Schwarzkogler. Leben und Werk. Badura-Triska und Klocker (Hg.) Klagenfurt, Ritter, 1992. - VI. Chobot, Manfred. Projekte. Gersthofen, Maro, 1973. - VII. The Spirit of Vienna. New York, Rene Block Gallery, 1977. - Beiligend: Einladungskarte zur Ausstellung. - VIII. Endlich Was Neues. Jahrbuch neuer Dichtung. Giessen und Wien, Edition Endlich Was Neues, 1974. - IX. Scheugl, Hans (Hg.). Ex Underground. Kurt Kren. Seine Filme. Wien, PVS, 1996. - X. Lischka, G.J. Der Intermediäre Aktionismus. Frankfurt, Betzel, 1980. Mit Widmung von Gerhard Johann Lischka an Ed Sommer. - XI. 2 Publikationen von Heinz Cibulka: Stoffwechsel. Mit zahlreichen Abbildungen. Graz, Breicha, 1977. - Zeilen zu einem Notenbild. Wien, Kübart, 1975. - XII. der Löwe. Eine kulturphilosophische Zeitschrift., Nr. 1. Herausgegeben von G.J. Lischka. Zum Thema Aktionismus, mit zahlreichen Beiträgen zu den Wienern. - Insgesamt gut erhalten. - Provenienz: Sammlung Schaffernicht.
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Satire - - Schwabe, Johann Joachim. Volleingeschancktes Tintenfässl eines allezeit parat seyenden Brieff Secretary, gefüllt mit kohlruessrabenpechschwarzer Tinten wider unsre Feind, mit rother gegen unsre Freind, mit gelber voller Neyd, mit grüener voller Freud, mit brauner und mit blauer, wies d' willst, süess und sauer. Das ist gründige und bündige Anweyssung, wie man allerhand Sortimenta von netten Briefflen zsammen buechstebirn kan: Allen mein Kunstverwannten, critischen Secretaryen, ... und mit etwelichen Brieff Formuln des erwürdigen Herrn Authoris wichtige Saches und Händeln betreffend, ... vergezierrathet von R. D. Vito Blauroeckelio. Kuffstein auf Kosten des erwürdigen Herrn Authoris, (das ist: Halle, Hemmerde), 1745. Doppelblattgroßer Titel, 14 Bl., 104 S. 18 x 11 cm. Halblederband der Zeit (berieben). Erste Ausgabe, anonym erschienen. - Holzmann/Bohatta IV, 5459 - Weller, Druckorte I, 83 - Goedeke III, 375, 109, 5 - Faber du Faur 1800 - Seebaß, Neue Folge, 840. - "Satire directed against Bodmer and Breitinger; the language is Tyrolean dialect. V. Blauroeckelius is a delightful figure closely associated with Zürich, and every ox-wagon mail brings him news of his cousins Bodmer and Breitinger who are his kin in spirit also. Much of it is excellently done, the contrast between North and South, the progressive state of Leipzig, and the backwardness of the Tyrol" (FdF). - "Seltene Originalausgabe dieser sehr gelungenen, aber derben Satire des Gottschedianers Schwabe zur Verteidigung seines Meisters" (Seebaß). - Hinteres Innengelenk angebrochen, gering fleckig.
NO RESERVE Pound (Ezra) The Spirit of Romance, foxing, ink ownership inscriptions to endpapers, spine dulled, extremities rubbed, covers rubbed and marked, [1910]; Pavannes and Divisions, frontispiece, p.103 torn, light browning to endpapers, spine slightly dulled, spine ends and corners a little rubbed and bumped, New York, 1918; Make it New. Essays, ink ownership inscription of P. B. Farrer to endpaper, dust-jacket price-clipped, spine sunned, a few small chips and tears to head and foot, light creasing, 1934, first editions, original cloth; and another by the same (4)⁂ The second mentioned has bookseller's pencil note to margin stating that this copy was presented by Pound to Wyndham Lewis but that the presentation inscription has been partially erased. The initials "W.L." are faintly visible on the facing page, followed by what is possibly Pound's characteristically jagged "E", however there is sadly not enough to substantiate the attribution.
An early 20th Century West African Nigerian Igbo tribal female maiden spirit mask. The mask having shaped facial features with carved top detailing and large bladed ear sides with central pierced wheel. White painted finish to face with darkened finish to rest of mask. Measures approx 50cm tall.
Luke Nuliayok - A large Inuit art hand carved soapstone Gjoa Haven figurine depicting a transformation owl spirit drum dancer. The highly unusual piece with owl carved head, drum and beater having carved Shamanic heads to shoulders. Measures approx; 26cm x 26cm x 18cm. Some damage to foot however most pieces present.
A 38cm high early Victorian silver coffee pot with Bergmann style cast finial to hinged lid in the form of a Turkish man seated and smoking a pipe, the pot with all over engraved decoration, set on a matching spirit burner base with original burner, chain and shell scroll feet - engraved initial W - made by John Angell II & George Angell, London, 1843
BANKNOTE COINS AND OTHER COLLECTORS ISSUES. A Collection of seven silver proof Royal Mint Elizabeth II coins from the 2009 - 2011 spirit and mind and other series to include Cuntdown to the Olympics, in capsulaes and presentation case with some inserts. Fourteen coins from the 'British Banknote Coin' collection all encapsulated with paper inserts, twelve in box, two separate. A Westminster Mint 'Coronation jubilee set' comprising Elizabeth II 1853 and 2013 crowns, slabbed and in presentation case with insert. 3 sets.
Kamera Werkstätten Guthe & Thorsch (Dresden). Kamera Werkstätten Guthe & Thorsch 1920s "Patent Etui" 9x12cm extra-slim folding plate camera, serial number 31133, retailed and badged by Wallace Heaton Ltd of London (Suppliers of Photographic Equipment to Her Majesty The Queen), with Carl Zeiss Jena Tessar 135mm f/4.5 lens, serial number 1083359, and F. Deckel Compur dial-set shutter in working order, serial number 612054, KW logo on front panel, wire frame finder, bubble spirit level next to reflex viewfinder, rise and fall by means of thumb screw and worm gear, rack focusing, bellows in good condition, closed dimensions 165 x 115 x 45mm, weight 775g, together with compatible film packQTY: (2)NOTE:The Patent Etui was manufactured in Dresden between 1919 and 1938 by Paul Guthe and Benno Thorsch. It was originally designed for glass plate negatives but can take film packs and roll film backs, such as those made by Rollex or Plaubel (RADA) for using 120 film and negatives 6x9. It is one of the most innovative designs of that era, resulting in a solution thin enough to slip into a pocket. It achieved this by the folding arrangement of the front standard and by shaping the bed of the camera to accommodate the lens/shutter when closed. The camera weighs only around 800g and was considerably smaller than most of its German competitors, in comparison a 4×5in Crown Graphic weighs 2.4kg. In 1937 Paul Guthe emigrated to Switzerland, as a Jew he was no longer safe anywhere. Benno Thorsch emigrated to the USA in 1938, for the same reason. He had already met Charles A. Noble of Detroit (who was of German origin) while Noble was on a visit to Germany. Thorsch had suggested selling the company to him in exchange for Charles' Detroit Photographic business. The sale went ahead and Charles moved to Germany with his family. Charles realised that the company's future lay with 35mm SLR cameras and launched the Praktiflex which after the war became the famous Praktica camera.
Blakemore (John, 1936). A group of 27 photographs, c. 1970s/1990s, gelatin silver prints, various sizes, 45 x 35 cm and smaller including 13 signed, some titled and dated, including Linch Clough, 1973, Linch Clough, Derbyshire, 1976 (from sequence 'Lila'), Apple/Time, No. 3, from 'The Neglected Garden', 1980, Shop Window - Spirit of Christmas, 1982, Country Pursuits No. 2, 1995, Collections, 1996, Blackbird No. 3, 1999, together with an archive of Richard Sadler's ephemera relating to John Blakemore contained in 2 archive file boxes, including catalogues, flyers, magazine cuttings, catalogues and booklets, 35mm colour slides, and medium-format negatives, some relating to an exhibition of Blakemore curated by Richard SadlerQTY: (27+2 archive boxes)
Make & Model: Toyota Pruis T Spirit VV-I ADate of Reg: HV07 NCFColour: Blackcc: 1497MoT: 06-04-2023Fuel Type: DUALMileage: 120kTransmission: AUTOSummary: Hybrid Electric. Three registered keepers with the last keeper since April 2018. Eleven Toyota service stampsVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=154733
Nikos Engonopoulos (Greek, 1907-1985)L' Archéologue signé en grec et daté '43' (en bas à droite)huile sur toile74.5 x 56.5cm (29 5/16 x 22 1/4in).Peint en 1943.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceThe artist's estate, Athens.ExpositionVenice, XXVII Esposizione Biennale Internationale d'Arte, Padiglione della Grecia, Nikos Engonopoulos, June 19 - October 17, 1954, no. 17 (listed in the exhibition catalogue, p. 295).LittératureArdin magazine, no. 57-58, December 2005 - February 2006, p. 27 (illustrated).N. Engonopoulos, Man: the Measure, Ypsilon/Books editions, Athens 2007, p. 47 (listed), p. 7 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 309, p. 64 (illustrated), p. 257 (illustrated), p. 424 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 665-666 (discussed), p. 977 (listed), p. 667, fig. 278 (illustrated).Painted in 1943, the year Engonopoulos wrote his emblematic Bolivar, L'archéologue is no less a masterpiece, introducing the viewer to a magical pictorial world of poetic metaphor. Merging symbols of different origin and character, and using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in miniature manuscripts and narthex decoration,2 Engonopoulos combines the ancient past with modern-day elements to subvert, in a typical surrealist fashion, the conventional ways with which rational thought perceives the world. Yet, as noted by theatre director and playwright Alexis Solomos, what is astonishing with him is the all prevailing spirit of Greece in his work. 'Everything Engonopoulos touches becomes Greek.'3 Here, set against a bright blue Greek sky interrupted by an ancient temple, a schematized tree and an unmistakably Engonopoulian travelling cloud, the visual act takes place in a shallow space reminiscent of a stage set that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to introduce the theatrical into his work, has once said that 'under the stage lights every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'4 Conceived on a human scale, this kind of contained setting that both frames and accentuates human activity, seems like a faithful emulation of Greece's natural environment. The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element.5 At the centre of the composition, a standing figure in a green tunic, possibly the archaeologist himself, seems determined to gain control over this fascinating gathering of images and restore a sense of order. Captured both frontally and in profile by means of the late cubist pictorial convention of contraction, he is flanked by a phantom figure with a picassesque head and a dazzling red clamys, and a helmeted kouros-like warrior holding a walking stick and a topper hat. The three monumental figures are being stared at by a woman-like wig stand with voluptuous curves and daringly rendered nipples, while a host of details, including a Doric column drum juxtaposed to ionic volutes in the extreme foreground, a lamp (a distinct and recurring theme in Engonopoulos's work with symbolic overtones), a chequered tile, and the artist's signature red-and-white bathing suit partially shown on the right, undermine the accepted narrative cohesion of images to explore the uncharted trails of the mind. Although this unexpected staging of dream-like images and objects is a fascinating feature of the work, no less impressive is the handling of colour. Dazzling reds, blues, greens and oranges, applied side by side with minimal tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.L'archéologue was exhibited in the 1954 Venice Biennale6, where, for the first time, Greece was represented by one artist alone. As noted by K. Perpinioti-Agazir, who prepared the painter's catalogue raisonné, this was perhaps the most important milestone in Engonopoulos's career.7 In Venice, he showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the theme of Surrealism. Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'1 O. Elytis, Open Papers [in Greek], Asterias editions, Athens 1974, p. 294.2 See D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 228.3 J. Lehman ed., New Writing and Daylight, New Direction editions, England 1946, p. 126.4 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.5 See S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters-20th Century [in Greek], Melissa editions, Athens 1974, p. 261.6 Up until the mid-20th century the famous Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.7 See K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural [in Greek and French], exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 78.For further information on this lot please visit Bonhams.com
An Edwardian silver dolls house four piece tea service, comprising spirit kettle and stand, teapot, cream jug and sugar bowl, the bodies fluted, with matching silver serving tray, by Levi & Salaman, Birmingham 1905, and a silver pin dish, Birmingham 1923, 73gms (6) Condition Report:Available upon request
A quantity of late 19th and early 20thC beer bottles, to include R.C. Armstrong Horncastle, 20cm high, various other similar with marbles to the neck, JB Sykes Silver Street Grimsby, Arnold and Co Lincoln Limited, Wine and Spirit Stores 199 High Street Lincoln, various others. (a large quantity)
Sighting Head. A WWII RAF Sighting Head Mk XIV circa 1942, with blackened frame and swivelling gyro unit with spirit level, lamp and sight, with original grey transport case stamped 'Sighting Head BS Mk XIV, Ref No 93413, Ser. No 505/42, together with another Sighting Head Type T-1, made in the USA by A.C. Spark Plug Div. G.M.C., unboxed QTY: (2)
British Boer War Telegram telling a Lient Colonel Hobbs then that is Brother Major Hobbs had been killed in the battle of Honing Spirit Friday 22nd June 1900, Major Hobbs was under his Commanding Officer Lient Colonel Bullock of the 2nd Battalion of the Devonshire Regiment who were deployed to South Africa for the Second Boer War which was comprised of men who had been held captive by the Boer forces. Major Hobbs was buried at Kroonstad, the telegrams came with printed copies of the action report and a personal letter to a Lient Colonel Hobbs which explains that Major Hobbs "Major Hobbs who was killed by my side after having behaved most gallantly", he was hit just below the heart. There is also a short letter about him and his career and an invoice for the purchase of a Marble headstone to mark his grave from his brother supplied by John Cain dated 11th October with newspaper clippings mentioning the death.
A PAIR OF GOLD AND STEEL 'FUNNY' EARCLIPS, BY MARINA B, 1989Designed as bombé crescents overlaid with patterned motif, mounted 18K gold and steel, signed Marina B, with maker's marks 'MB', numbered, Italian assay marks, length 4.3cmCf: See Viviane Jutheau de Witt (2003-2011) Marina B: The Art of Jewellery Design. Skira Editori, for a comparable pair of earrings, page 197, no. 390The granddaughter of Bulgari’s founding father, Sotirio Bulgar, Marina Bulgari has jewellery design in her blood.Her father, Constantino was Bulgari's eldest son and held a central role in the family firm. As a young woman though, Marina had other interests, amongst them aspirations of becoming a mathematician as well as a keen interest in sailing. It was inevitable that she would succumb to pressures to join the family firm and by 1973, she had become co-CEO with her cousin Gianni.Fuelled by an entrepreneurial spirit and an independent mind, Marina eventually left Bulgari in 1976 and struck out on her own. In 1978, she founded Marina B. For the next number of years, she travelled extensively and eventually opened stores in Geneva, London, Milan, Monte-Carlo, Paris and New York. Creative Director and Chairman of Marina B today, Guy Bedarida describes her as "a woman designing for women".From the late 1970s to the early 1990s, the voluminous, bold, and colourful jewellery of Marina B, was the brand of choice of famous movie stars and singers such as Sophia Loren, Elizabeth Taylor, Jackie Kennedy, Grace Kelly, Nan Kemper, Julia Roberts, and Queen Noor of Jordan. Marina B’s use of colour in her jewellery was considered ground-breaking at the time and what made them a product of the modern era. In her work, 18 karat yellow gold is matched with an array of coloured gemstones. Diamonds are a strong part of the designs but are used sparingly, often as a contrast to the coloured gold and gemstones and in pavé-set patterns.In 1989, a descendent of her Fuji Yama and Yama collections, the Funny earring collection debuted, featuring thick crescents of burnished or unburnished steel decorated with a lattice of gold. Favouring the unique combination of precious and non-precious metals over the gems used in her earlier works, the swirling gold and silver steel create a striking look, both stark yet opulent in appearance.Marina’s works speak to their designer’s being as a woman of multitudes, combining old school glamour with a sharp freshness that has made her jewellery popular today among the likes of Taylor Swift and Rhianna.Condition Report: Numbered F1877Minor signs of wear, overall in good conditionTotal gross weight approx. 35.9g
From the private collection of a continental ladyAN ENAMEL, RUBY AND DIAMOND NOVELTY BROOCH BY CARLO ILLARIO, CIRCA 1960Designed as a flying toucan bird embellished throughout with red, orange and brown polychrome enamel, the wing pavé-set with brilliant-cut diamonds and a circular-cut ruby cabochon for the eye, within a polished gold frame throughout, in 18K gold, near indistinct Italian assay mark, width 7.3cmIllario’s workshop was able to confirm that this brooch was from their workshop, dating between 1960-1965. They have provided a photo of its mould.Brothers Carlo, Vincenzo and Luigi Illario were a family of goldsmiths from Valenza. They established a jewellery firm in 1920, with each brother taking on their own position. Carlo, who was trained in Paris, headed the production, Vincenzo was a stone setter who also selected the precious gems, and Luigi was head of administration.The brothers worked under their own name, as well as for bigger firms, and were involved with several different jewellery companies. Some of the most renowned goldsmiths in Valenza practised in their workshop, guaranteeing that each product was crafted with exceptional quality.The company brand from 1935 had been 26AL and the business name was under Carlo Illario e Filli. Traditionally, ownership was handed down from father to son and, in 1953, even Luigi's sons, Giovanni and Vittorio, became a part of the family business. From the end of the 1900s, Vittorio and his sons, Pier Luigi and Edoardo, carried on as owners of the company with the 'Illario 1920' logo.In 1996, Giovanni Illario, along with his sons Carlo and Gian Luca, agreed with Vittorio and his sons to set up a new company that would allow them to be more active in the foreign market. This led to a split in Societa Carlo Illario and to the creation of the new Societa Carlo Luca della Quercia which pursues the traditions and spirit of the original company.Their skilled craftsmanship, reputation of excellence and use of innovative goldsmith techniques caught the attention of well-established retailers. Throughout the 20th century, Casa Illario created unique pieces of haute joaillerie for the most famous Italian maisons: Bvlgari, Cusi, Faraone, Fasano, Fecarotta, Settepassi, Ventrella and others. The company's partnership with Bvlgariwas particularly long standing, running from the 1950s through until the 1970s.In this time, Illario made many pieces for Bvlgari, including the now iconic Serpenti watch bracelet. Elizabeth Taylor was a consistent patron, whose personal style and love of dramatic jewels found its home in Illario's creations.Alongside manufacturing for other brands, Illario produced a vibrant assortment of jewellery under their own name. They were known for their fine gemstones and unusual materials, such as polychrome enamel, tortoiseshell and mother of pearl. Striving to stand out, Illario used new techniques in its pieces, such as black rhodium plating to create a contrasted look. The quality of the craftsmanship is clear in all jewels that bear the Illario name, making them highly desirable.Condition Report: The tip of one wing shows some minor enamel deficiency - otherwise normal wear, overall in good conditionDiamonds: bright and well matchedStamped 750 for 18K gold on the reversePartially rubbed Italian assay markIllario’s workshop was able to confirm that this brooch was from their workshop, dating between 1960-1965. They have provided a photo of its mould.Normal signs of wear, overall in good conditionTotal gross weight approx. 25.6gIllario confirmed that the brooch is by their workshop, confirmed date and shared a picture of the mould.
From the private collection of a continental ladyA RUBY AND DIAMOND DRESS RING, BY CARLO ILLARIOThe central cushion-shaped ruby within a calibré-cut ruby surround and between baguette and tapered baguette-cut diamond shoulders with gold reeded detailing, mounted in 18K gold, diamonds approximately 0.50ct total, Italian registry mark '26AL' for Carlo Illario, ring size M½Brothers Carlo, Vincenzo and Luigi Illario were a family of goldsmiths from Valenza. They established a jewellery firm in 1920, with each brother taking on their own position. Carlo, who was trained in Paris, headed the production, Vincenzo was a stone setter who also selected the precious gems, and Luigi was head of administration.The brothers worked under their own name, as well as for bigger firms, and were involved with several different jewellery companies. Some of the most renowned goldsmiths in Valenza practised in their workshop, guaranteeing that each product was crafted with exceptional quality.The company brand from 1935 had been 26AL and the business name was under Carlo Illario e Filli. Traditionally, ownership was handed down from father to son and, in 1953, even Luigi's sons, Giovanni and Vittorio, became a part of the family business. From the end of the 1900s, Vittorio and his sons, Pier Luigi and Edoardo, carried on as owners of the company with the 'Illario 1920' logo.In 1996, Giovanni Illario, along with his sons Carlo and Gian Luca, agreed with Vittorio and his sons to set up a new company that would allow them to be more active in the foreign market. This led to a split in Societa Carlo Illario and to the creation of the new Societa Carlo Luca della Quercia which pursues the traditions and spirit of the original company.Their skilled craftsmanship, reputation of excellence and use of innovative goldsmith techniques caught the attention of well-established retailers. Throughout the 20th century, Casa Illario created unique pieces of haute joaillerie for the most famous Italian maisons: Bvlgari, Cusi, Faraone, Fasano, Fecarotta, Settepassi, Ventrella and others. The company's partnership with Bvlgariwas particularly long standing, running from the 1950s through until the 1970s.In this time, Illario made many pieces for Bvlgari, including the now iconic Serpenti watch bracelet. Elizabeth Taylor was a consistent patron, whose personal style and love of dramatic jewels found its home in Illario's creations.Alongside manufacturing for other brands, Illario produced a vibrant assortment of jewellery under their own name. They were known for their fine gemstones and unusual materials, such as polychrome enamel, tortoiseshell and mother of pearl. Striving to stand out, Illario used new techniques in its pieces, such as black rhodium plating to create a contrasted look. The quality of the craftsmanship is clear in all jewels that bear the Illario name, making them highly desirable.Condition Report: Ruby: of purplish-red hue, medium to dark tone, good transparencyCalibré-cut rubies: of medium to dark tone, overall well matched in colourDiamonds: unable to assess colour due to yellow mount, estimated clarity VSNormal signs of wear, overall in good conditionTotal gross weight approx. 14.2g
RENÉ LALIQUE VICTOIRE GLASS MASCOT. A modern re-issue of the 1928 design-registered original, issued as a 10-year celebration of the end of the Great War in 1918. The mascot was also titled the 'Spirit of the Wind'. An art deco design with a frosted finish, in very good condition, no inscription.
THE WHISPER MASCOT. Originally designed by Charles Sykes, a little before he sketched the more common Rolls-Royce 'Spirit of Ecstasy' mascot. The late Lord Montagu ordered a number of 'evocations' of his original in the 1960s, of which this is a rare example. This exemplar, offered in very good condition, retains it nickel-silver plating over the bronze base metal, with correct Charles Sykes signature. Highly attractive and a rare opportunity to own one of the rarest mascot designed produced.
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