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Click here to subscribeNew Zealand – mixed Silver Proof coins – to include ‘The Spirit of Anzac’ 50 Cents 2015, ‘Haast’s Eagle’ Five Dollar 2016, ‘Great Spotted Kiwi’ One Dollar 2016 (N.B. egg-shaped coin), ‘Kiwi’ piedfort One Dollar 1992 and others (N.B. all cased and mostly with Certificates of Authenticity) (8 coins)
A modern Edinburgh Crystal glass part table service, comprising: a ship's decanter and stopper; a spirit decanter and stopper; two various tankards; eight champagne cups; nine champagne flutes; eleven red wine goblets; six white wine goblets; thirteen port glasses; seven liqueur glasses; six brandy balloons; six whisky tumblers and a small water jug; and five water glasses, a few with acid etched marks
A pair of Adams vases, applied with classical motifs on cobalt ground, approx 21cm in height; a Royal Crown Derby 2451 pattern miniature plate, green backstamp; an Abbeydale cobalt gilt dish, raised on three feet; a pair Wedgwood Jasperware baluster vases; a set four Wade spirit barrels, etc
* ANDRE QUELLIER (FRENCH 1925 - 2010), MAGPIE ON A MAIZE PLANT oil on board, signed 120cm x 60cm Framed. Note: André Quellier began painting at the age of 11. He joined the National School of Fine Arts in 1941 and took classes in classical painting with Jean Dupas and Edmond Heuzé. During the Occupation and following years, he followed the work of choreographer Katherine Dunham, with whom he collaborated for the sets but also to make sketches of the dancers. Dunham recognized him to have captured the spirit of her ballets. He notably illustrated Dunham's book The Dances of Haiti and worked as an illustrator for several other publishing houses. In 1945 he received a prize from the Institute of the French Academy, and in 1955 won a prize from the Casa Velasquez. In 1961 Quellier produced a series of 104 paintings dedicated to the mime of Marcel Marceau. He also made portraits of several personalities from the arts: Brigitte Bardot, Gerard Philipe, Jean Cocteau (acquired in 1990 by the Los Angeles Museum) and Marcel Jouhandeau. Other notable portraits included Mother Teresa, John Paul II, the Dalai Lama and Felix Houphouet-Boigny. Throughout his life he exhibited in Paris and around France, notably at St Tropez and around the world including in New York, London, Moscow, Tokyo, Leningrad and Tehran. Quellier's work rarely appears at UK auctions but "Amorous Couple in a Garden with a Hoopoe" was sold by Christie's (London) lot 317 7th February 2012 for £5000 (premium) and "Flowers in a Glass Vase, in a Landscape" (lot 293) sold in the same sale for £3500 (premium).
* BRUCE TIPPETT (BRITISH 1933 - 2017), LANDSCAPE WITH REEDS charcoal on paper, signed and dated 14.03.58 42cm x 53cm Mounted, framed and under glass. Artist labels verso. Note: Bruce Tippett was a British born artist who was championed by Philip Granville (Lord's Gallery, London) and the legendary Betty Parsons (Betty Parsons Gallery, New York) and others. Jane England writes in her 1992 catalogue : "[In 1957], he […] saw Japanese brush paintings for the first time at the British Museum [which now houses nine Bruce Tippett drawings]. He recalls now that 'Something awoke in me and I entered another realm'. The works of the Japanese calligraphers inspired him by their mixture of spontaneity and contemplation. Like the Zen masters, Tippett achieved spontaneity by constantly paring down the image and concentrating on its essential spirit, with no sign of the struggle involved. When Tippett first saw a work by Hartung at Gimpel Fils in May 1958, he was struck by the similarities of their respective calligraphic styles. These similarities had different origins. In Tippett's case the energetic strokes and lines came from his early drawings of reeds and stakes in marsh landscapes and the studies he had made of building structures, whereas Hartung's expressive calligraphy came from his early experiments with automatism." Alan Bowness pointed out in his "Portrait of the Artist" (1958) that "having made the first steps on his own Tippett realized that the calligraphic paintings of Hartung pointed in the direction he wished to go […] but by the end of 1957 Tippett had reached something that was recognizably an original manner, and the drawings done then and at the beginning of this year have a remarkable ease and assurance." After Peggy Guggenheim closed her Art of This Century gallery in 1947, Parsons was one of only a very few gallery owners to promote avant-garde American art at a time when the commercial demand for it was minuscule. The Betty Parsons Gallery was also, for a considerable time, the only gallery in the US which promoted and supported Abstract Expressionism. Parsons played a major and significant role in establishing New York as the centre of the art world and Jackson Pollock, Mark Rothko, William Congdon, Clyfford Still, Theodorus Stamos, Ellsworth Kelly, Hedda Sterne, Forrest Bess, Michael Loew, Lyman Kipp, Judith Godwin, Tony Smith, Robert Rauschenberg, Barnett Newman and many other artists owed much to Betty Parsons. Bruce Tippett first visited New York in 1965 when Dorothy Miller bought one of his paintings for MOMA. He met Parsons at the Venice Biennale in 1966 and immediately afterwards she visited his studio in Rome and bought several paintings and drawings for her gallery. Bruce Tippett exhibited regularly at The Betty Parsons Gallery from 1967 and had his last solo show there in 1981, the year before Betty died. Bruce Tippett continued to exhibit in the US and the UK and even more frequently in Italy and France. He died in France in 2017, where he had lived and worked since 2005. His work is held in some of the most important collections in the US and Europe including The Louvre (Paris), The British Museum (London), Galleria Nazionale d’Arte Moderna (Rome) and MOMA (New York), yet in his country of birth, his work remains relatively unknown.
A very well engineered 2.5 inch gauge 440 spirit fired locomotive and tender, finished in black, and numbered 1502 to cabside, and named Black Prince, fitted with open rear cab with easy access to access regulator, whistle, safety sight glass and steam gauge, fitted with brass hand operated forward and reverse controls, with forward/reverse indication plaque, fitted with Stephensons valve gear with single cylinders and slip eccentric and drain cocks, nicely detailed with front headlamps. This example has been heavily overpainted in black, free running example with original three wick spirit burner, possibly Bing
‘Stalker’ 16mm live steam 0-4-0 loco built to a Jack Wheldon design, spirit fired, Mamod boiler, single active oscillating cylinder, Bonds 4-start worn gear 6-1 reduction, green No.8 ‘N&WLR’ fitted with cab mounted lubricator, with reverser, driver and fireman in cab. In specially made wooden carrying box . No boiler certificate. (E)
A Wells of London (UK) early 20th century tinplate and clockwork motor BP spirit delivery lorry comprising of red and green body with gold detailing and tinplate BP grille, marked Wells of London to rear, fitted with a single key fixed mechanism and tinplate spoked black wheel, rare example (G-VG)
Ceramics including Beswick hounds, Royal Doulton horse group 'Spirit of Love', cased glass bowl, Spode part coffee set, Victorian cheese wedge, tea wares, Continental figures, Model 101 HMV wind-up gramophone, a Singer sewing machine and a pair of graduated modern bird cages, a composition garden ornament, various pottery gilt metal and porcelain table lamps, embroidered and crocheted table linens etc (qty) (four boxes)
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