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Click here to subscribeA Taylor & Barrett Turntable Fire Escape comprising an orange/red body, with white running boards and rear step, gold trim, a 3 sectional extending ladder that requires re-stringing, a mechanical turntable with winding handle, comes with 2 seated fire fighter figures, overall in very good condition for its age
THÉODORE GÉRICAULT (1794-1824)Étude d'ensemble pour le Radeau de la Méduse (recto); Étude d'homme allongé, le bras gauche levé (verso) plume en encre brune, lavis brun, rehauts de blanc (insolé)pen and brown ink, brown wash, heightened with white (darkened paper)20 x 27 cm (7 7/8 x 10 5/8 in)Footnotes:西奧多·席里柯(1794-1824)美杜莎之筏(正面); 一个躺着的男人，左臂抬起(反面)羽毛笔，棕色油墨，棕色水洗，白色亮出被烘托ProvenanceHippolyte Walferdin (1795-1880), Paris, déjà en 1845; sa vente, Paris, Hôtel Drouot, 12-16 avril 1880 no 292 ('Étude pour la Méduse. Dessin à l'encre rehaussé de blanc. Au dos: Étude également pour la composition de la Méduse') (80 francs avec les lots 91 et 93).Avec Claude Aubry, Paris, en 1964.ExpositionsParis, Galerie Aubry, Géricault, 1964, no 77, ill.Los Angeles, County Museum of Art et autres lieux, Géricault, 1971-1972, no 81, ill. (recto).Paris, Didier Imbert Fine Art, '20 ans de Passion' Alain Delon, Dessins, Printemps 1990, no 43, ill. (recto et verso). Lyon, Musée des Beaux-Arts, Géricault. La folie d'un monde, 2006, no 79, repr. p. 149 (recto).BibliographieC. Blanc, Histoire des peintres français au XIXe siècle, Paris, 1845, vol. I, pp. 427-428 et 442.C. Clément, in Gazette des Beaux-Arts, 1867, dessins no 104.C. Clément, Géricault. Étude biographique et critique avec le catalogue raisonné de l'œuvre du maître, Paris, 1868 et 1879, dessins no 115.R. Rey, 'Géricault ou l'archange aboli', Les Nouvelles littéraires, 12 novembre 1964, p. 8, ill. (verso).J. Fischer, 'Géricault in French Private Collections', The Connoisseur, janvier 1965, p. 52.L. Eitner, 'Reversals of Direction in Géricault's Compositional Subjects', dans Stil und Überlieferung in der Kunst des Abendlandes, Berlin, 1967, vol. III, p. 133, note 19.L. Eitner, Géricault's Raft of the Medusa, Londres, 1972, no 20, pp. 149-150, fig. 18 (recto) et 60 (verso).L. Eitner, Supplément au catalogue raisonné de l'œuvre de Géricault par C. Clément, Paris, 1973, supplément, no 406, p. 466.L. Eitner, Géricault. His Life and Work, Londres, 1983, pp. 173, 343, note 102. P. Grunchec, dans cat. exp. Master Drawings by Géricault, New York, Pierpont Morgan Library et autres lieux, 1985-1986, p. 153, sous no 80, ill. (verso).G. Bazin, Théodore Géricault. Étude critique, documents et catalogue raisonné, Paris, 1994, vol. VI (Le Radeau de la Méduse et les Monomanes), nos 1964 et 1981, pp. 19, 23, 116-117 et 124, ill. (recto et verso).T. Buck, Géricaults Floss der Medusa 1819-2019, Würzburg, 2019, p. 38, fig. 16.La dizaine d'études d'ensemble connues aujourd'hui pour le Radeau de la Méduse permet de suivre étape par étape l'élaboration du chef-d'œuvre de Géricault et les changements successifs de la composition (voir, en particulier, Bazin, op. cit., nos 1925, 1927, 1928, 1940, 1948, 1952, 1958, 1960, 1961, 1967 et 1968). Le dessin de la collection Delon marque un moment important dans la réalisation de la toile du Louvre achevée en 1819: Géricault a, par rapport aux études d'ensemble précédentes, resserré le cadrage pour ne représenter, au premier plan, que le radeau lui-même, insistant ainsi sur l'aspect dramatique de la scène. La composition semble fixée et ne va plus être radicalement modifiée. Certaines des figures clés (le père tenant le corps de son fils à gauche, le cadavre vu de dos juste à côté, les deux hommes agenouillés, les bras levés, vers le centre...) sont déjà représentées quasiment telles qu'elles apparaitront sur le tableau. Surtout, c'est le premier dessin où apparaît la figure de l'homme monté sur une barrique et agitant une chemise pour alerter le bateau passant au loin. Au verso est une étude pour un homme nu, vu de dos, allongé et cherchant à se relever, préparatoire à la figure tout à droite du tableau du Louvre, près de la barrique où est l'homme debout agitant sa chemise. Trois autres études pour cette figure sont connues, deux, qui la montrent également nue, au musée des Beaux-Arts de Rouen (Bazin, op. cit., nos 1979 et 1980), sans doute réalisées avant la feuille de la collection Delon et une autre au Musée Magnin de Dijon qui correspond exactement à la position du personnage dans la toile du Louvre (Bazin, op. cit., no 1981). L'homme y est vêtu d'un pantalon retroussé aux genoux.Nous remercions Philippe Grunchec pour avoir confirmé l'attribution du dessin sur la base d'une photographie.The ten or so compositional studies known today for the Raft of the Medusa make it possible to follow the development of Géricault's masterpiece step by step and the successive changes in the composition (see, in particular, Bazin, op. cit. nos. 1925, 1927, 1928, 1940, 1948, 1952, 1958, 1960, 1961, 1967 and 1968). The drawing in the Delon collection marks an important moment in the production of the Louvre painting, completed in 1819: here Géricault has, in comparison with the previous overall studies, tightened the framing to show only the raft itself in the foreground, thus emphasising the dramatic aspect of the scene. By this point, the composition is broadly established and will not change radically. Some of the key figures (the father holding his son's body on the left, the corpse seen from behind just to the side, the two men kneeling with their arms raised towards the centre, etc.) are depicted almost as they will appear in the finished painting. Above all, this is the first drawing in which the figure of the man mounted on a barrel, waving a shirt to alert the passing ship in the distance, appears. On the verso there is a study for a nude man, seen from behind, lying down and attempting to stand up. This is a preparatory sketch for the figure on the far right of the painting in the Louvre, near the barrel where the man standing and waving his shirt is. Three other studies for this figure are known: two, which also show him naked, in the Musée des Beaux-Arts, Rouen (Bazin, op. cit., nos. 1979 and 1980), probably made before the sheet in the Delon collection and another in the Musée Magnin in Dijon which corresponds exactly to the position of the figure in the Louvre painting (Bazin, op. cit., no. 1981). The man is dressed in trousers rolled up to his knees.We are grateful to Philippe Grunchec for confirming the attribution of the drawing on the basis of a photograph.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Wrenn W2261 4-6-0 LMS lined black Royal Scot Class Loco No.6102 "Black Watch", some very minor damage to lining on left side cylinder, slight discolouring to boiler handrails, minor paint chip to left side of fire box and cab step plus minor paint chip to right side of boiler and right side of fire box, condition generally Good Plus in Good box but with some scuff marks to lid but does include instruction booklet.
OO Gauge Locos and Rolling Stock comprising Triang Railways RS615 Railway Children Train Set containing 0-6-0 GN&SR brown Tank Loco (one step broken and running plate), red and cream Clerestory Coach, Bogie brown livery Coach with verandas and circle of track (station, straight pieces of track, power clip and uncoupler are missing), all are contained in generally Good vac-formed inner tray with Good box base but pictured lid is Poor to Fair, also in lot unboxed 2-car BR green DMU along with additional power car, Murgatroyd's Bogie Tanker, black Engineer Department Clerestory Coach, brown Brake Van, Crane Truck along with Hornby Railways Mk.1 blue/grey Sleeping Car, conditions Fair to Good Plus. (9)
Vinyl - Punk - 11 2nd generation original UK punk rarities 7” to include: The Snipers (Crass Records, Gatefold Sleeve), Crass / Poison Girls (Crass Records, Poster Sleeve), Crass (Crass Records, Brown Vinyl), Sleeping Dogs (Crass Records), Abrasive Wheels (Clay Records), Anti-Nowhere League (WXYZ Records), Disorder (Disorder Records), Charged G.B.H. (Clay Records), Chron Gen (Step Forward Records), 4 Skins (Clockwork Fun Records), Six Minutes War (White Labels Test Pressing EP). Condition VG to VG+ overall
A sapphire and diamond entourage ring, featuring a rectangular step-cut sapphire of deep blue colour, approximately measures 8.7 x 7.0 x 3.6 mm, encompassed by a frame of eighteen circular-cut diamonds, flanked by four baguette-cut diamonds on shoulders, claw set to a wirework mount and conjoining shank, unmarked white metal testing 18ct, ring head measures 1.4 x 1.2 cm, ring size O, total weight of item 7.0 grams.
A diamond line bracelet, incorporating forty-seven graduated square step-cut diamonds channel-set in articulated basket links, sizing from 0.20ct to 0.30ct with an estimated total weight of 11.45cts, to a concealed tongue clasp and double figure-of-eight catch, unmarked white metal testing as platinum, overall length 17.8 cm, cased in a Brahmfeld and Gutruf box, total weight of item 30.2 grams.
A gem-set tapered templar ring in 18ct gold, collet-set with octagonal step-cut tanzanite of light purple colour, approximately measures 6.2 x 5.0 mm, flanked by two pear-cut rubellites, to a thick ring band with bead and twisted rope detailing, London hallmarked '750' with maker's mark 'ST', 1996, ring size P, total weight of item 15.2 grams.
An Edwardian peridot, diamond and seed pearl brooch cum pendant, featuring an octagonal step-cut peridot of vivid olive green colour, approximately measures 13.9 x 13.6 x 9.1 mm, in a claw setting embellished with four seed pearls, framed by a scrolled quatrefoil surround encrusted with old-cut and rose-cut diamonds, suspending a pearl drop below, attached with a hinged bail of conforming design and detachable brooch fittings to verso, metal testing as 14ct and platinum, overall drop length 4.8 cm, in an Elkington & Co. Ltd Court Jewellers fitted case, total weight of item 9.8 grams.
A Dutch ormolu-mounted kingwood, tulipwood, burr-walnut, fruitwood and marquetry commode, Workshop of Matthijs Horrix (1735-1809), The Hague, ca. 1765-1770, 89,5x140x69,5 cm, Provenance: - Acquired at Christie’s, London, by Pieter Hoogendijk, Baarn, on behalf of the present owner, 1989.- Property of a Dutch noble family.Literature: Reinier J. Baarsen, Aspecten van de Nederlandse meubelkunst in de tweede helft van de 18de eeuw, thesis, Vis Offset, Alphen aan den Rijn, 1993,’In de commode van Parijs tot Den Haag’, Matthijs Horrix, (1735 – 1809), een meubelmaker in Den Haag in de tweede helft van de achttiende eeuw’, p. 206, ill. Afb.43, p. 207 (this commode before restoration), The moulded and shaped grey marble top above a pair of bombé doors, inlaid with cartouche with flowers, C-scrolls and rockwork, on shaped legs ending in paw feet, and conformingly inlaid sides.One of the highlights of this collection that demonstrates the great potential of the effect of exotic wood inlay is this monumental commode – one that was made in the French tradition and exhibits many of its hallmarks, but is actually not French. This particular commode was made in the circle of the Dutch furniture maker Matthijs Horrix (1735-1809) (see next page). This German-born furniture maker travelled to The Hague in the 1760s, determined to bring a truly French style to the attention of the Dutch clientèle. Although at that time, locally produced pieces of furniture such as secretaires or cabinets were indeed embellished with the Louis XV style, this was essentially a translated style adapted to Dutch taste and tradition. French ornaments such as ‘rocaille’ and C-scrolls were applied in mouldings, mounts, and panels, though the execution, proportion and overall shape of the furniture stayed Dutch. Architecture and the decorative arts in The Hague, in particular, had already been influenced by French aesthetics during the first quarter of the eighteenth century. Through the figure of the French architect and designer Daniel Marot and his influence, an adapted Louis XIV style changed the design of various components of Dutch affluent life, from façades and hall benches to candlesticks and tea canisters. Matthijs Horrix wanted to go a step further, by executing designs that would be considered virtually French. Whereas the inventiveness and execution of gilt-bronze mounts had to be of higher quality than those produced by his Dutch peers, the intricacy of the wood inlay needed to equal that of the most recent pieces leaving the workshops of Paris. Since the Dutch ormolu-mounted commode featuring in this auction is of this high quality and bears several characteristics of Horrix's dedicated approach to furniture making, we can place this piece in his workshop. Surmounted by an elegant ‘bleu turquin’ marble top, the bombé-shaped body of the commode is richly decorated with inlaid flowers and scrolls, composed of kingwood, tulipwood, burr-walnut, fruitwood. Participating in the dynamic movement of this marquetry are the scrolling ormolu mounts applied to the front, corners, legs and feet.
1931 Bentley 4-Litre Three-Position Drophead CoupéCoachwork by Freestone & WebbRegistration Number: ALC 250Chassis Number: VA4100Engine Number: BM7860/VP4028As the Depression took hold, sales of Bentley's celebrated 4½ -Litre model declined. While Rolls-Royce were producing the highly successful 20/25hp model, Bentley's newest offering, the extravagant 8-Litre, was desperately out of step with the times. Bentley urgently needed a new model to try to turn their fortunes around.On the Management Committee's instruction, and much to W O Bentley's disdain, a 4-Litre six-cylinder engine designed by Ricardo was utilised in a chassis closely based on their contemporary 8-Litre, and offered in two wheelbase lengths, 11ft 2in and 11ft 8in. The new engine had an inlet-over-exhaust design, of a similar arrangement that would power Bentley and Rolls-Royce cars after the war until the late 1950s.The 4-Litre has been much maligned and seems to be little understood, most probably as so few were built, but it's worth remembering that Bentley boss, Cpt. Woolf Barnato, used a 4-Litre as his personal transport in period. All of this said, many consider the 4-Litre to have perhaps the best chassis, gearbox and rear axle combination of all pre-War Bentleys, and as such, many were converted into 6½ and 8-litre specials.Extremely rare cars - only fifty 4-Litres were completed before the original Bentley company's liquidation - ALC 250 is reputed to be the last of those cars built and one of just 39 short-chassis cars produced.With stunning original 3-position drophead coachwork by Freestone & Webb, this is a highly attractive car.Finished in dark green over black paint with silver-painted wire wheels. The interior is in lovely mellowed condition with very dark green leather with green carpets and a fabulous wooden dash.Running and driving very well at our recent inspection, the car sounds glorious with a positivity addictive deep vintage exhaust note, and performance is said to rival the Derby 3½-Litre cars.The history file includes photographs of comprehensive restoration work, some old MoTs, previous ownership history and a copy of chassis records etc. Chassis VA 4100 was the last 4-litre chassis built by Bentley Motors and probably the last W O Bentley built by the old company.Note: A spare 4-Litre engine is available to purchase by separate negotiation. Enquiries should be directed to Sworders.
FABER, Traugott zugeschrieben(1786 Dresden - 1863 Dresden) Blick auf Palermo und Monte PellegrinoÖl auf Leinwand auf Platte. Monogrammiert. 38 x 49 cm. Gerahmt52 x 63 cm. Romantische Ansicht, wie eine weitläufige, mit verschiedenen Niveaus ausgestattete, Schritt für Schritt in die Tiefe führende Raumbühne. Vergoldeter Stuckrahmen Faber (Karl Gottfried Traugott), Maler, Zeichner, Grafiker. Schüler von Carl Christian Fechhelm, dann zehn Jahre im Atelier von Johann Christian Klengel. 1820 Mitglied der Dresdner Akademie, 1815-1834 Lehrtätigkeit. Werke in einigen deutschen Museen * Partnerauktion Bergmann. Literatur : Saur (2003), Thieme-Becker (1907-1950). FABER, attributed to Traugott(1786 Dresden - 1863 Dresden) View of Palermo and Monte PellegrinoOil on canvas on plate. Monogrammed. 38 x 49 cm. Framed52 x 63 cm. Romantic view, like a spacious stage equipped with different levels, step by step leading into the depths. Gilded stucco frame Faber (Karl Gottfried Traugott), painter, draftsman, graphic artist. Pupil of Carl Christian Fechhelm, then ten years in the studio of Johann Christian Klengel. In 1820 member of the Dresden Academy, 1815-1834 teaching. Works in some German museums * Partner auction Bergmann. Literature : Saur (2003), Thieme-Becker (1907-1950). *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Konvolut Silberschmuck in Miniaturkommode Silber 835 gestempelt, geprüft. 3,5 x 3 - 5 x 4 cm. 61,3 g. 5 Anhänger u.a. mit Bernstein, Pyrit-Stufe und Malachitcabochon, 2 Filigranbroschen, 1 Distelbrosche, 1 Durchbruchbrosche und 2 Nadeln u.a. mit Hämatiteinlage. Kugelhaken. In 6-schübiger Birkenkommode Convolute silver jewelry in miniature commode Silver 835 stamped, tested. 3.5 x 3 - 5 x 4 cm. 61,3 g. 5 pendants including amber, pyrite step and malachite cabochon, 2 filigree brooches, 1 thistle brooch, 1 piercing brooch and 2 pins including hematite inlay. Ball hook. In 6-leaf birch commode .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
A pair of diamond, sapphire and ruby cufflinks, in the Old King's Scholars colours, King's School, Canterbury, a rectangular panel with rows of channel set princess-cut diamonds and step-cut sapphires and rubies, with opposing similarly set bars, with chain link connections, rectangular panel 2.4 x 1.9cm, together with a diamond, ruby and sapphire stickpinProvenance: The Barry Lock collectionCondition Report: Cufflinks gross weight 32.79g.Stick pin weight 3.27g excluding pin protector.Stick pin later adapted - the sapphire and ruby rows are later additions to the old-cut diamond stick pin.
An Art Deco platinum, sapphire and diamond cluster ring, and a diamond eternity ring, the cluster ring with rectangular step cut sapphire in four claw setting to a pavé diamond border and baguette diamond shoulders, ring size K; the eternity ring designed as a single row of round brilliant-cut and single-cut diamonds, ring size P, in leather ring case (2)Condition Report: Measurements of sapphire approx. 6.6 x 5.9 x 3.0 mm. Border consists of 14 round brilliant cut diamonds approx. 0.01 carats each. Baguette shoulders approx. 0.04 carats. Total diamond weight approx. 0.22 carats. Condition: Good overall condition. Some abrasion and chips noted to the sapphire under 10x magnification. Some wear to the mount and hoop. Diamonds of good commercial quality with some minor chips noted under magnification. Hoop unmarked, tests as platinum, engraved with date 10.38. Hoop has been sized. Eternity ring tests as platinum. Shows signs of wear. Some diamonds likely replacements. Some chips noted to the diamonds and wear to the mountGross weight of both rings approx. 5.0g
An amethyst bracelet, designed as a single row of ten graduated rectangular step-cut amethysts to a box clasp, the largest, central amethyst measuring approximately 14.9 x 21.9 x 11.2mm, approximate bracelet length 21cm (VAT charged on hammer price)Condition Report: Unmarked, but mount tests as approximately 14ct gold.Smallest amethyst approx. 10.3 x 14.9 x 8.1mm.
An Art Deco Emerald and Diamond articulated line Bracelet comprised of eleven rectangular links each rubover and pavé-set four emerald baguettes and four eight-cut diamonds interspersed with trios of step-cut emeralds in silver backed with gold on hidden clasp, approx 18.7cms long, approx 21gms
A GOLD AND SMOKY QUARTZ BROOCH AND A GOLD AND SMOKY QUARTZ PENDANTThe brooch claw set with two cut cornered rectangular step cut smoky quartz, otherwise in an abstract design, having a partly textured finish, the pendant claw set with an oval smoky quartz, both unmarked, gross combined weight 19.1 gms
AN 18CT GOLD, EMERALD AND DIAMOND THREE STONE RING AND A 9CT GOLD AND HAEMATITE RING (2)The first ring mounted with the square step cut emerald at the centre between two circular cut diamonds, ring size L, gross weight 3.4 gms, the second ring mounted with a haematite intaglio between pierced shoulders, ring size N and a half, gross weight 3.2 gms
A rare mid 19th Century German composition-headed Tumbling Acrobat gravity toy, the man with Imperial beard and moustache, tufts of hair over ears, wooden articulated body with purple and gold paper waistcoat, purple silk cap and apron, Dresden paper trim, contained in a paper-covered wooden box with pull out drawer/step, separate table and lid --6¼in. (16cm.) length off box (slight wear to paper and missing one finger); and a smaller transformational box/step for a tumbling gravity toy
Pit-a-Pat and other makers dolls’ house kitchen and cleaning equipment, Pit-a-Pat - a broom set on stand with red square label —4 3/4in. (12cm.) high and a ironing board with red square label; unknown clothes dryer, step ladder, scrubbing board, tinplate peddle bin, blue painted kitchen table, four lead saucepans with lids, iron and white cutlery box with lid
Incl. a.o.: (1) "Week-End" Step. Cover des. by Gerrit van Weezel. (2) Zonnetje. Woorden van Jan Rot, Muziek van Hans Kauffmann. Repertoire Paul Collin. Cover des. by Jan Rot. (3) Het Hooiland. (4) De eeuwige Jeremiade. (5) Sterren en Heidelied. Woorden van Hele Swarth, muziek Bernard Zweers. Amst., G. Alsbach & Co, ca. 1900. 4th printing. Cover des. by Antoon Molkenboer. (6) De vroolijke Frans. Kermis-Marsch 1892. Woorden en Muziek van Johan. Rott., G. Alsbach & Co, 1892. (7) Clublied Zaandamsche Harddraverij Vereeniging. Jac van Kampen, ca. 1910. (8) De Brandspuitgast. Woorden van F.J. Ooms. Muziek van die Feuerwehrmänner. Rott. & Zwolle, J.M.W. Waanders, ca. 1870. Cover w. stamp. Spine dam. (9) Hoep-la! Komiek-Zangstuk naar het Engelsch van W.R. Gordon. Middelburg, F.B. den Boer, ca. 1860 -and 49 more. (total 58)
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