SOL LEWITT, AMERICAN (1928-2007), paper folded into squares, 1971. Signed to bottom right square `Sol LeWitt London June 15 1971`. Lisson Gallery stamp and label verso, with No.7 written in pencil. PROVENANCE: Acquired from a 1973 Lisson Gallery exhibition, presumably from `Sol LeWitt: Lines through toward and to centre points` , May 1973, though the signature suggests that it was made at an earlier date. A similar example was sold at Christie`s Post-war & Contemporary Art auction on 17th April 2013. Compton visited exhibitions at the Lisson Gallery from its opening in 1967 and later met Sol LeWitt in New York. Sold with a copy of 1973 Lisson Gallery invoice. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. SOL LEWITT (1928-2007): Sol LeWitt was born 1928 in Connecticut to Eastern European immigrants. LeWitt received a BFA from Syracuse University in 1949 (where he made his first prints) and then was drafted in the Korean War in 1951. During his service, he made posters for the Special Services and spent time in Japan. In 1953, he moved to New York , where he studied at the Cartoonists and Illustrators School (now the School of Visual Arts). In 1960, he took an entry-level job at the Museum of Modern Art, where he met Dan Flavin, Robert Ryman, Lucy Lippard and Robert Mangold. Together, through the `Sixteen Americans` exhibition, they were introduced to the work of Jasper Johns and Frank Stella and Robert Rauschenberg. LeWitt was also interested in Russian Constructivism, with its engineering aesthetic and the idea of making utilitarian art in an industrialised age. LeWitt`s three dimensional structural works from the mid to late 1960s - such as Serial Project, Three Part Variations on Three Different Cubes, and hundreds of sculptures made of open white cubes - grew out of this interest in the serial. He applied the same system of permutations and variations in his prints, drawings on paper and drawings on the wall. Sol LeWitt executed his first wall drawing in 1968 at Paula Cooper Gallery in New York. Wall Drawing #1 emphasized the premise of the artwork over the final product. "I wasn`t really that interested in objects. I was interested in ideas." - SOL LEWITT. 21.70 x 4.10in. (55 x 10cm) Possible slight discolouration / sun damage throughout but very minor. Has been out of its frame. Fixed down in all four corners, back is plain. Slight rough edges, various creases around fold lines. Small dot (possible foxing) through the fourth segment top to bottom on the right hand side. Plain oak frame.
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GRAND OLD PARR Blended Scotch Whisky. Bottled by MacDonald Greenlees Ltd. No capacity stated on label, 70°proof. Clasp seal. VAT 69 N.A.A.F.I Blended Scotch Whisky, specially labelled for the N.A.A.F.I. Stores for H.M. Forces. No strength or capacity stated. Bottle has a `Filling Height` label on side of bottle. DIMPLE Blended Scotch Whisky. 26 2/3 fl.ozs. 70°proof, in carton. WHYTE & MACKAY 21 YEAR OLD Blended Scotch Whisky. 75cl, 40% volume, in presentation box. BELLS DECANTER MARRIAGE OF PRINCE ANDREW AND SARAH FERGUSON Blended Scotch Whisky, 75cl, 43% volume. BELL`S COMMEMORATIVE BELL SELECTION BELL`S QUEEN MOTHER 90TH BIRTHDAY BELL Blended Scotch Whisky in white and blue Wade decanter. 75cl, 43% volume. PRINCE HENRY OF WALES BELL Blended Scotch Whisky in white Wade decanter. 50cl, 40% volume. 7 bottles Grand Old Parr- slightly weathered VAT 69- fill level is high shoulder, bottle is weathered Dimple - carton and label are weathered
HORNBY DUBLO 2R Set 2050 Suburban Electric Train comprising 2250 BR(S) Green Motor Coach and 4150 Trailer Car and a circle of 2R track. The Motor Coach has minor frosting to the cab edge on one side at route indicator board level otherwise contents are Mint in a Mint Box Base with an Excellent Plus lid. All paperwork.is missing.
PHENOMENAL THREE-DIMENSIONAL LEADED GLASS SHOE STORE TRADE SIGN. On occasion a fabulous piece of any nature comes to the market, having been tucked away for perhaps 50, 80, or even 100 years. Oftentimes, there is no provenance or history attached to said item. But on rare occurrence, this information comes to light along with the extraordinary piece itself. Please read below the history of the shoe`s origins as well as view the accompanying photo showing the former location of the sign in the present day. Unfortunately we were unable to secure a photo of the shoe in use during the time period. Adolph Schauder emigrated to the United States from Germany in 1893. He settled in the northern Wisconsin town of Rhinelander. Adolph brought nothing with him other than leather so he could reestablish himself as a shoemaker and provide for his family. He was able to purchase a two story building in downtown Rhinelander on Brown Street. His shop was on street level and the family living quarters were directly above. Four generations continued this business until it was closed in 1989 having operated for 96 years. There were no heirs to inherit and continue the business. It is not exactly clear when Adolph had this incredible trade sign created, but we have been told by family members that it was created and put in place in the earliest part of the 20th century. At some point, the shoe was taken down from its outside display area and relegated to the basement. A family member recalls that often on the Fourth of July, the shoe would make an appearance in the town parade with family members strapping it to the roof of the car for all to see and remember. After the shoe store closed, the new owner of the building held an auction to dispose of various items left in the building. The consignor of this item attended the public auction at the shoe store`s location and was stunned to see this fabulous item that was never even mentioned in the auction flyer. Due to age and the wish to downsize, they have decided to liquidate and consolidate their various treasures. At first appearance, one thinks of this as a boot, but in reality, it was designed as a shoe and the white glass actually simulates a spat. The lettering ""S&S"" is done in burgundy glass and was perhaps meant to represent Schauder & Son. The heel of the shoe is actually a tin surround with an opening at the bottom. The top of the shoe has a covering and most likely at one point had an electrical fixture to light up the shoe. A hole on the underside of the shoe would allow for easy access to change the light bulb. Although the actual glass pieces have not been counted, it must easily be in excess of a few hundred pieces. As one would expect, there have probably been some aged repairs to some of the leading and glass tiles, but the piece is firm, solid and intact. The shoe itself utilized amber colored glass to simulate leather and as previously discussed, the spat is a creamy white with the burgundy S&S lettering. The toe area of the shoe employs a different style of glass being of a green color. Truly an amazing and most important folk art trade sign to come fresh to the market and undoubtedly a once in a lifetime opportunity to own a piece of this magnitude. SIZE: 25-1/2"" h x 36"" l x 12-1/2"" w. CONDITION: As stated above. 1-14108
1930s ERA STEIFF WOOLEN MINIATURE RABBIT WITH BUTTON. Rabbit is made from white Nomotta wool and has a swivel head. He has a pom-pom tail and two pom-pom front arms. His white felt ears have a touch of pink airbrushing on their insides. Rabbit`s tiny and simple face is detailed with pink and red glass pupil eyes, a pink airbrushed nose and mouth, and clear monofilament whiskers. Steiff introduced woolen miniatures in the early 1930s in part to have a lower priced, collectible, entry level product offering, as well as to make items that would be good to display with other items and in vignettes. This pattern was produced in 4 and 6cm in a series of lifelike color combinations from 1931 through 1943. Rabbit retains his button and his ear tag, which has snapped in half, as his Steiff IDs. SIZE: Overall 2"" t (5cm). PROVENANCE: Chuck & Cathy Steffes Collection. CONDITION: Ear tag broken in two pieces, otherwise very good. 1-13842
STAR - SY4 WOODEN SAILING YACHT c.1960`s (Made in Liverpool - 18"" wood hull with thick metal keel (red/blue) and 18"" wooden mast with twin jibs and main sail (Fair), BING c.1920`s 9"" LAMP STANDARD - cast base with glass lamp (broken.) HORNBY No. 1 `O` TINPLATE LEVEL CROSSING. (Good/box torn) - `O` GAUGE 0-4-0 BLACK LOCO BODY (No. 1 mech and wheels), LMS No. 1 COAL TRUCK. (VG) - `O` CHAD VALLEY STEAM LINE C/w LOCO and 2 x carriages. (Poor, over painted blue ) (8)
A quantity of various items. An interesting collection of card based British military figures slotted into red painted wooden bases. Standing, 9cm and mounted 12cm examples include lancers, fusiliers, infantry in scarlet, riflemen, Scots, Guardsmen, various types. Probably designed to be used as part of a game. 150 plus pieces. Also in lot are three Invicta Figures white metal kits Marshall Ney and horse. Elite Gendarme and a Mounted French Line Lancer. Plus a Hinchliffe Models mounted English lancer. A nice model fort with 3 turrets with walkways and castellations, ramp leading to drawbridge and internal drawbridge leading to a higher level. measuring 63cm over the base by 37cm with a height of the tallest tower of 31cm. Plus a few other items including a tinplate/plastic battery operated Space Ship and a few die-cast aircraft and other vehicles. GC-VGC.
* ALL CREATION REJOICES IN THEE WITH A SILVER-GILT OKLAD MOSCOW, FIRST HALF OF THE 18TH CENTURY 33 by 27 cm. Related literature: For similar works, see Ikony Yaroslavlya XIII – serediny XVII veka, Moscow, 2009, in 2 vol., p. 90, no. 127. A. Rybakov, Vologodskaya icona. Tsentry khudozhestvennoi kultury zemli Vologodskoi XIII–XVIII vekov, Moscow, 1995, no. 154, 156. The icon is an illustration of the opening lines of the troparion of St John of Damascus in honour of the Mother of God: ‘O Thou who art full of grace, the joy of every creature, the host of angels and the race of man. O Holy Temple and Paradise of the Word...’ At the centre of the complex, theologically rich composition is the image of the Mother of God and Child on a throne, surrounded by the glory of heaven, and behind her the angelic host and temple against a background of the Garden of Paradise. In the bottom part of the composition are representations of patriarchs, prophets, apostles, saints, martyrs and holy people. This icon also includes several additional depictions that are rarely encountered. In the middle tier, on the same level as the Mother of God, are portrayals in the archways of King David holding a harp (left) and the Good Thief with a cross (right). We find a similar addition of this composition in an icon of the second quarter of the 17th century from the Yaroslavl Museum of Art and in an icon of the early 18th century, from the Vologda Regional Museum. These two depictions are associated with the Mother of God being compared to a ‘holy temple’ (a similar prophetic symbolism is found in the psalms of David) and as ‘paradise of the word’ (cf. the Good Friday canticle: ‘Thou didst vouchsafe the wise thief, O Lord, to be straightway in paradise’). A further – and this time unique – addition to the composition are the Seven Sleeping Youths of Ephesus. This independent subject replaces the youths (three or one in number) depicted on some other icons, also on the bottom in the centre. Also of interest is the temple, depicted with Baroque architectural features (a building divided into two tiers, the facade with decorative columns, pilasters, cartouches with swags, and cupolas to match ‘Ukrainian Baroque’). The Garden of Paradise is also more specific than had traditionally been the case: not with depictions of abstract flowers, but with trees of precise draughtsmanship, bearing paradisiacal apples. The Garden of Paradise motif is continued in the artistic rendition of the frame which has plant ornamentation in the form of a vine; two of whose branches split from a single stem on the bottom border and climb the side borders to come together again, thus embracing the icon’s whole composition. The icon is notable for the great professional skill of its painting and the bringing together of ancient tradition with certain special, stylistic qualities of the Kremlin Armoury school to provide a splendid example of Muscovite icon painting of the Modern Era.
S.W. Territory This is the first state of this early American produced map. While simply drawn the map includes interesting information including the locations of early settlements, military reservations, and Indian villages. The Mero district is located and divided into three counties: Sumner, Davidson, and Tennassee. Nashville is here called Naskville. Fort Massac is shown on the Ohio River, and there is a note near Knoxville describing the way to Pensacola as being nearly level. The map includes a portion of the adjoining states of Kentucky and Georgia. This is the first state; later states of this map change the title to ""Tennassee."" In 1788 North Carolina established a Superior Court district to serve the Cumberland frontier. The district was named in honor of the Spanish governor of Louisiana, Esteban Rodrigues Miro, who had assisted the Americans during the Revolutionary War. The naming of the new district is credited to James Robertson, who was attempting to soothe tensions between the U.S. and the Spanish colonial government and gain Miro`s assistance in controlling the Creeks and Chickamaugas, and to open the Mississippi River to Cumberland travelers. Robertson and his allies persuaded the North Carolina legislature to name the new district Mero, inadvertently misspelling the name. The first judge of the Mero District Superior Court was John McNairy, and one of his first actions was the appointment of Andrew Jackson as district attorney. The court served Davidson and Sumner Counties, as well as the counties created out of them, until 1809, when the superior courts were abolished. A nice impression issued folding, now flat, with faint offsetting, some of it from an opposing page of text. There are remnants of hinge tape and an ex-library stamp on the verso. 6.1 W x 7.4 H Scott, Joseph 1795
![[Lot of 3] England and Wales [and] England [and] Engla Land, Sive ea Britanniae Pars, quae Citra Tuedam Fl. Saxonibus Subjec](http://lot-images.atgmedia.com/SR/36385/2906594/439-20145813723_468x382.jpg)
[Lot of 3] England and Wales [and] England [and] Engla Land, Sive ea Britanniae Pars, quae Citra Tuedam Fl. Saxonibus Subjecta Est An interesting lot of nineteenth century maps centered on England and Wales, each complete with towns and cities, political divisions, rivers, and topographical detail.A. England and Wales, by J. Dower, from A New General Atlas of Modern Geography..., circa 1854 (8.7 x 10.2""). Includes two keys, the first showing the markers used to signify railroads and cities by population, the second devoted to the color code used to delineate the various districts and counties. A picture chart running along the bottom of the sheet shows the height of several mountains and towns relative to sea level. Published by Orr & Company. Condition: Original color. (A)B. England, by John Walker, from Walker`s New Atlas, circa 1816 (7.1 x 8.3""). Engraved by Thomson. Condition: Issued folding, now flat. (A)C. Engla Land, Sive ea Britanniae Pars, quae Citra Tuedam Fl. Saxonibus Subjecta Est, by Aaron Arrowsmith, Jr., from Orbis Terrarum Veteribus Noti Descriptio..., dated 1828 (9.7 x 12.3""). Condition: Light offsetting from an opposing page of text, a spot of foxing at left, and marginal soiling. (B+) See description above. 1816-54
Southern Railway oak single fusee oak wall dial clock, the 14" dial inscribed `B.R. (S) 10292.` (ex-Crystal Palace - Low Level Booking Hall, taken into service 22nd/2/1938), signed John Walker 1 South Molton St, London, stamped `10292` to the bezel hinge and case back, the movement back plate stamped 8292; bezel hinge stamped `10292`; pendulum (movement a.f)
Berry`s Own Selection Vintage Port 1983 Shipped by Warre & Co 1 bt Gould Campbell Vintage Port 1977 1 bt Sandeman Vintage Port 1960 3 bts Diez Hermanos 30 Year Old Tawny Port Bottled 1966 2 bts Taylor`s Tawny Port (Unknown Age) Missing label 1 50cl bt Taylor`s Vintage Port Unknown Vintage (Possibly 1940s) 1 bt Unknown Fortified Wine (Believed Port) 1 bt Unknown Fortified Wine (Believed Port) Berry Bros 1 bt Unknown Fortified Wine (Believed Port) Saccone & Speed 1 bt Above 12 bts Taylor`s Vintage Port - signs of seepage, M/S level
A Continental Stereo-Converted Mahogany Tailboard Camera, possibly French, with later addition of Meagher maker?s plate, with two unmarked f/8 brass lenses in shutter, body, F-G, replacment glass screen, lenses not set level in panel, lenses, F-G, with Euryscope Superieur f/6 lens, body, F, elements, F-G, and Taylor Taylor & Hobson Cooke Series II f/4.5 8.2in. lens, body, F-G, ding to rim, elements, F, in unmarked case, possibly Sinclair
Please note this lot will not available for online bidding. For further information and to bid on this lot please contact Halls Fine Art 01743 450 700 Dirck Van Delen or Dirck Christiaensz Van Delen (Heusen 1605-1671 Arnemuiden) 'Dives and Lazarus', Figures Banqueting at a Dining Table in an Architectural Capriccio, other Figures and Servants nearby with Musicians in a Gallery above, signed with the artists initials and indistinctly dated, possibly 1626, oil on panel, 61.5cm x 73cm We gratefully acknowledge Mr Bernard Vermet's assistance in cataloguing this lot. Mr Vermet is currently writing the catalogue raisonne on the artist. Dirck van Delen was born in 1604 or 1605 in Heusden, Holland. His father was Corstiaen Dircksse from The Hague, who married a local girl, Cornelia Jansdochter. Van Delen's first tutor was thought to be the little known Hendrick Aerts, although another candidate is Jan Steenwijk the younger (c.1580-before 1649), whose influence and that of many of the architectural painters in Antwerp at the time, is very clear on Van Delen's first period The artist seemed to have been largely self-taught, using prints and books as inspiration. He may have been a pupil of Jacob Wijnants (c.1600-1637). Wijnants was a witness at his marriage to Maria van der Gracht, who was the daughter of the burgomaster of Anemuiden. Van Delen succeeded his father-in-law as burgomaster and also served as Consul of Zeeland. From 1718 he became a pupil of Frans Hals (1583-1666) and there are stories of how the painters, Adriaen Brouwer and Dirck van Delen, played practical jokes on their master. Most of the artists pictures from the 1620's feature dark angular Renaissance-style architecture and usually includes a vanishing point exactly in the middle of the work. Rarely would van Delen attempt asymmetrical views in early examples. Views of palaces and church interiors were some of van Delen's favourite subjects. The present work depicts the parable of the rich man and Lazarus, also known as "Dives and Lazarus". It is taken from the Gospel of Luke XVI: 19-31. It is most likely identical to the one sold for 19 guilders to Jonkers at the auction of the collection of the late Mr.D.G.Van der Burge van Kronenburg on 6th September 1824. The entry number 110 reads as follows: "In a beautiful room with a gallery, on which Lazarus seems to be sitting, one sees a distinguished company dining." Bernard Vermet tells us that the painting is one of the earliest known by the artist so far. There are at least three other pictures from later in 1626, A church interior and two Palace exteriors, showing that Van Delen used all three types of common architectural scenes from the very beginning of his career. Vermet goes on to tell us that all four paintings are already highly characteristic of the artist's personal style, with only small deviations, such as, in our case, a colonnade with pillars instead of columns, and a console above the middle of the windows. The Renaissance architecture, with it's dominance of black,red/brown and yellowish marble is imaginary and far too rich and heavy for a realistic interior. The silver glass ball that is hanging from the ceiling-as in Vermeer's "Allegory of Faith" should theoretically show us the distorted image of the painter at work, but this is not as such recognisable. The present work is of great value in that it sheds more light on Van Delen's development as an artist and shows that he made extensive use of sources in a very personal way and never to the extent of mere copying. The first and most important source for the artist was a work of the same subject by Bartholomeus van Bassen (1590-1652) that was auctioned in 1926 in Amsterdam. This is extremely interesting in that our vendor can remember his father purchasing the present work from "Gooden and Fox" of Bury Street, St. James's, London during the 1930's, when it was attributed to Bartholomeus van Bassen. John Quilter of that firm was a cousin of the family, and our vendor has a very clear recollection of the work hanging in his parents home "Bagpath Court" in Gloucestershire, as well as in several other earlier residences. The entire foreground, of our picture, including the dog between the vase and the wine cooler, as well as the table with all it's figures are directly copied from Van Bassen's picture (see accompanying documentation) however the staffage in his work was painted by Esaias van de Velde (1587-1630), who himself based his rich man behind the table on the work of Frans Francken II (1581-1642). This work is not dated, but from around the same time as a painting of the same subject by Van Bassen and Van de Velde that is signed and dated 1624. Both artists occasionally worked together on other versions, one of which can be seen in the Alte Pinakothek in Munich. In our painting the staffage and the figures are entirely painted by Van Delen, hence they are not transparent, do not show architecture underneath, and details like the shining light on the balustrade, were added after the staffage was finished. The couple entering the hall through the doorway on the right, though not too far in style from Van de Velde, is clearly based on a prototype by Dirck Hals and used by Van Delen on a number of occasions. This fact alone - that there are figures based on two different artists in a single painting - proves that neither of these two were involved personally here. Over the years however Van Delen's skills grew to such a level that there is a persistent misunderstanding that Dirck Hals, in the 1620's, and Anthony Palamedesz, in the 1630's, added the staffage to many of Van Delen's pictures.. **For further extensive documentation relating to the artist and his work, please refer to the printed material by Bernard Vermet, displayed in the Saleroom.
REELS & ACCESSORIES (Qty): Abu Ambassadeur 6000 red multiplier reel, fine condition, white handle model, no foot stamp, level wind, c/w maker’s leather case, an Ogden Smith The Zefer 3” alloy dry fly reel, optional check, shaped ivorine handle, various Hardy casts and fly box, in canvas/leather traditional fishing bag.
`Marshall and Snelgrove`, three storey doll`s house with hinged front and lift off roof, with an additional detachable level on base, seven rooms. Interior is made of various shops. Includes: supermarket; bakery; florist; music shop; ornament shop; book shop; hair salon. All shops include various furniture and accessories. Dimensions: H 104 cm x W 76 cm x L 61 cm, VG.
-Click here to bid - 1973 Triumph 2000 Dolomite Sprint Reg. no. XNP 33M Chassis no. VA3019DC Engine no. VA002&&0HE Triumph Cars always represented good value for money and when introduced to replace the popular Toledo, the Dolomite’s equipment was updated to a level higher than that of its larger siblings. Although the Dolomite proved to be refined and rapid, competitors such as the BMW 2002 had a performance advantage which was costing Triumph dearly, both in terms of sales and prestige. To remedy this, Triumph unveiled the Dolomite Sprint in June 1973, although the launch had been delayed a year. At launch the Sprint was priced at £1,740, which compared extremely well to similar cars from other manufacturers. Prospective buyers would have been hard pressed to justify the extra £1,000 cost of the BMW 2002 which offered similar performance. Motor magazine had this to say: ‘the Sprint must be the answer to many people’s prayer. It is well appointed, compact, yet deceptively roomy. Performance is there in plenty, yet economy is good and the model’s manners quite impeccable…Most important of all, it is a tremendously satisfying car to drive.’ We are told that this car had a full engine rebuild only 10,000 miles or so ago and that it is good in all respects. It is sold with its V5c. Estimate: ???
ɑ An L S Lowry, the level crossing, limited edition, with Patrick Seale Prints blindstamp and signed in pencil to the margin See illustration Condition report Report by JB Foxing and marks can be observed to the white border of the print, some more noticeable than others. However, it does not appear to have encrouched upon the centre image, there is the possibility of light foxing in the skyline, however it is difficult to tell due to the colouring. Apart from that, the colours are reasonably good and quite distinctive. No tears, rips or fading would appear present Please see illustrations
** ALFRED EMILE O` HARA COMTE DE NIEUWERKERKE (1811-92) :`MORT DE MONSEIGNEUR LE DUC DE CLARENCE`, A FRENCH BRONZE EQUESTRIAN GROUP, MID-19TH CENTURY brown patinated, depicting two accurately modelled armoured figures on caparisoned horses, the base with neo gothic decoration and lengthy narrative inscriptions on each side, signed `par le Cte E. de Nieuwerkerke`, dated 1838, with foundry inscription `fondu par E. Quesnel. Paris` and `Susse frères éditeurs place de la bourse` 55 cm; 21 ¾ in high, 60 cm; 23 5/8 in wide; 19 cm; 7 ¾ in deep This sculpture shows the encounter between Thomas, 1st Duke of Clarence (Henry V`s brother) and Garin de Fontaine at the battle of Baugé, 22 March 1421 during the 100 Years War. Thomas had not been present at his brother`s famous victory at Agincourt (1415), and it may have been his desire to establish his battle credentials that led him to push on against the Scots fighting with the French despite advice to the contrary. In a rather ironic twist of fate his downfall may have been brought about by the lack of archers in his company compared to the number of Scottish bowmen, although the Scots and French were numerically inferior. As it was, in what was effectively an ill-advised sortie, Clarence and a significant number of his men at arms were killed. The historic accounts are confused, and it is not clear who actually killed Clarence, but as he was Henry V`s Regent at the time, his death was a significant blow to the English. This sculpture is probably the best known work of Alfred-Emilien O`Hara Comte de Nieuwerkerke (1811-1892). Nieuwerkerke, a French sculptor of Dutch descent, enjoyed a high level civil service career in the French Second Empire, until its fall in 1870. Following this he left Paris and moved to Italy, via London, shedding much of his distinguished collections as he went. Much of his arms and armour collection was acquired by Sir Richard Wallace and remains in the Wallace Collection today. A plaster model, perhaps the original and another bronze sculpture of this group are preserved in the Royal Armouries, Leeds (XVII.29).
REELS (2): Abu Ambassadeur 6000C black multiplier reel, smooth end plates, foot stamp 740404?, chips to rims, single black handle, operating fine, c/w tools in maker`s leather case and an Abu Garcia Ambassadeur 823 casting reel, level wind, star drag, adjustable brake, good, c/w handbook, in MOB.
John Fairbairn Autograph letters signed, 8 items. various letter formats Autograph letters in his own hand and signed, to Benjamin Moodie in Swellendam. John Fairbairn emigrated to South Africa, following his friend Thomas Pringle to the Cape, in 1823. He is remembered today as the father of press freedom in South Africa as well as an educationalist and the founder and first Chairman of the Old Mutual (certain of their premium investments carry his name under the Fairbairn Trust). This collection of letters from his early years at the Cape to his friend Benjamin Moodie then living in Swellendam reflect early concerns with a free press, slavery, the strife with the autocratic Sir Charles Somerset, then governor of the Cape, and the problems of the Settlers. The letters are the originals as written in his own hand and were folded, sealed, and posted. The results of this are clearly visible. A few of the letters are extant as typed copies, probably copied from his own fair copy or letterbook. Some may be the only copies. These items are unique in the true sense of the word. 1. Letter postmarked June 10 1825. 3 sides of writing. Personal health & finance issues, a memorial concerning slavery at the Cape, fixing the rate of the Rixdollar & a petition in the Burgher Senate re same, handling of complaints from the Colony, financial issues & proposed new bank, state of alarm as 50,000 threaten the Frontier, request for articles, comments on various administrative figures, etc. Condition: complete with no major loss. several small holes at folds passing through front to back. Does not impair legibility. 2. Letter postmarked August 26 1825. 3 sides of writing. Problems arising with Greigs type which had been sold to Bridekirk rendering him unable to print and publish, further issues with the legality of printing the paper under the partisan handling of the issue by Lord Charles Somerset`s administration, plans to bring the arbitrary local government to the attention of Parliament in London, to have Lord Charles Somerset impeached or recalled, etc. Condition: bottom edges frittered but not seriously affecting legibility. side 3 has some loss. a 100mm x 30mm loss to text written on outer edge, a hole (the size of a South African R2.00 coin, or a nickel) in the middle of the text, and a comparable area at the bottom edge. 3. Letter postmarked September 9 1825. 2 sides of writing. A list of 27 suggested articles, comments upon the Commissioners, Lord Charles Somerset, Greig`s types. Condition: minor loss to side 3 not affecting any text. 4. Letter dated March 9 1826 (postmark not visible). 3 sides of writing. `Open war` on Greig, Atherstone on confidential footing (with Lord C?), Richard Bourke advises Greig to abide by his prospectus and eschew further open hostility to Somerset, no one will sign address to Lord Charles Somerset who leaves the colony - leaving his children behind to the disgust of the ladies. Condition: 4 areas of small loss to edges and one small hole. the letter fold is torn to about 1/3 of the height from the top. some text is missing but the letter loses little legibility. 5. Letter dated 24 March 1826. (postmark not visible) 3 sides of writing. Issues concerning local banking, comments on Lord Charles Somerset, Pringle to leave in the Lucia, new family [Bourke?] religious and ban Sunday music & dancing, Fairbairn in low spirits, restrictions on internal trade. Condition: Two areas of loss to side 3, a 30mm hole in the middle and a similar area at the edge. the former gives text loss, but the latter does not. 6.Letter dated October 5 1826. (postmark not visible). 3 sides of writing. Stamp to be levied on all newspapers, Stellenbosch recusants threatened with transportation, events onboard the Atlas between Brink & Shaw reported in the British press, letter from depressed Pringle in UK, complaints on the low literary level of current British writings, general dismay at state of world affairs. Condition: minor tear on edge of side 1 not affecting legibility, small loss (the size of a South African R2.00 coin, or a nickel) to the edge of side 3 not seriously affecting legibility. 7. Letter dated September 30 1828. 1 written side of 3. Complaint that the Commissioners failed to institute an enquiry into the conduct of Lord Charles Somerset, ideas of literary property, proposed new periodical. Condition: one small hole in front not affecting legibility. major loss to side 3 but there is no text to be affected there. 8. Letter dated Saturday morning, Grahamstown. 4 sides, incomplete. Not addressed to any one, nor signed, but likely his friend Moodie as usual. This does seem to be in the style of Fairbairn. Probably written at some date before the departure of Lord Charles Somerset, so maybe 1826. At the time of writing he was in the Eastern Cape. Condition: excellent, no loss or damage. As noted, the condition of these items varies. Some of them have pieces missing either from handling over the years or from opening them as were sealed for postage. A full set of scans are available on request for you to evaluate the overall condition of each item. We have transcribed the letters to the best of the ability and scholarship within the time constraints. These are available as pdf files on request. Following a successful bid by a recognised institution such as a university library, we can provide an invoice for payment on provision of an official order for this item. Please make a formal request to us in advance if you wish to do this. An export permit may be required for this item and it is the responsibility of the purchaser to obtain this. Variable. scans available Reserve: $5000 Click here to view further details and to bid
Walter Frederick Osborne RHA ROI (1859-1903) THE VILLAGE STREET, RUSH & LUSK, COUNTY DUBLIN, c.1898 oil on canvas signed lower left; with inscribed exhibition label on reverse 7.25 by 10.75in., 18.125 by 26.875cm. L The Collection of Sir George F. Brooke, Bart.;Thence by descent to Lady Brooke;with Mealy`s, Castlecomer, May 1991, lot 1028;Private collection `Memorial Exhibition of the works of Walter Osborne`, Royal Hibernian Academy, Winter 1903-04, catalogue no. 145 (Lent by George Brooke, Bart.) Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, p.144, catalogue no. 498 (listed) Walter Osborne`s passion for painting en plein air is thought to have been the cause of his premature death in an unusually cold April in 1903. He was forty-three and at the height of his artistic powers. The present work, which dates to the most prolific period in his oeuvre, is testament to this passion and captures the rustic charm of a village street in half-light in North County Dublin. The scene is an intimate view of an ordinary street where the everyday humdrum of village life is taking place. Fowl peck at the dirt in the centre of the road by a water pump while a figure with a cart stops and engages with another in a doorway on the left. This scene appears to repeat itself further down the street on the opposite side of the road where hints of figures and animals are suggested. Osborne elevates the routine happenings of village life to the level of the extraordinary by seeing beauty in its simplicity and communicating this to the viewer in an honest vocabulary that draws on the Realist`s in subject, tone and palette and the Impressionist`s in execution and responsiveness to light. Osborne`s brushstrokes are deceptively simple. The fowl in the centre are delivered to the viewer by a mere dab of the paint-brush; a single, fluid and bold movement that is unassumingly brilliant. They lift out of the canvas in delicate impasto that invite the eye into the composition. The flatter façades of the buildings lining the street draw the viewer towards the brightest corner of the street, treating us to insights into village life on route. The glow that radiates from this point touches road and wall until resting back in the foreground in the fowl`s plumage.A charged, powerful and unpretentious painting, The Village Street, Rush & Lusk formed part of a large memorial exhibition held at the RHA, Dublin after Osborne`s death. It was one of 270 paintings and drawings loaned mostly from private collections. The present example was owned at that time by a wine merchant based on Gardiner`s Row, Dublin. 1Footnote:1. Brooke, George F., 1 Gardiner`s Row (wine merchant) [ex Dublin City Directory 1850]
Wouterus Verschuur (Dutch, 1812-1874) A traveller on horseback, meeting country folk gathering winter fuel oil on board, signed lower right and dated 1846 12 x 16in (30½ x 40½cm). * Wouterus Verschuur was born in Amsterdam in 1812, the son of a well-known jeweller and his wife. Verschuur learnt his trade from an early age and received tuition from the well-known and established landscape painters Cornelius Steffelaar (1797-1861) and Pieter Geradus van Os (1776-1839). During his tuition he was encouraged to copy the style of Philips Wouwerman (1619-1668) whose best known subjects were stable scenes and horses in the countryside. Verschuur was regarded as extremely talented at the age of just 15 and exhibited a painting at `The Exhibition of Living Masters` in Amsterdam in 1828. As his work became more and more appreciated, he was regarded as one of the last living Dutch artists who was faithful to the established 17th century Romanticism style of painting. Vershuur`s paintings display a recognisable high level of technical accomplishment and inventive composition. During 1832 and 1833 he won gold medals at the annual exhibition at Felix Meritis. In 1883 he was appointed a member of The Royal Academy in Amsterdam. His reputation began to grow in other European countries and he travelled extensively and exhibited abroad. In 1885 Napolean II purchased one of his paintings at the Exposition Universalle in Paris. He frequently travelled to Germany and Switzerland and during a visit to paint in the town of Vorden in Gelderland during 1874 he became ill, and passed away on July 4th. He left behind approximately only 400 finished works, many of which are held in Museums, Institutions and private collections around the world.
The following lot relates to the career of Celtic and Scotland International George Connelly A blue Scotland v. Czechoslovakia and West Germany International cap, 1973-74 The above cap represents George Connelly`s debut and the only other appearance for his country at full International level. In the match against Czechoslovakia played on the 26 September 1973 at Hampden Park, Scotland defeated Czechoslovakia 2-1, in the match against West Germany played on 14 November at Hampden Park, Scotland and West Germany drew the match 1-1
A Nikon F Eye-Level SLR Camera, chrome, serial no. 6421480, with Nikkor-S f/2 50mm lens, serial no. 534175, body, VG, shutter working, lens, G, sold as special a order by Randall Cox of Cardiff to Professor at Cardiff University, with Nikon flash, two filters, in maker`s case, with original recipt
U.S. Army, 1864 Map Illustrating the Siege of Atlanta, GA. By the U.S. Forces under the Command of Maj. Gen. W. T. Sherman This fine "Civil War" map is dated 1864 but was published in the Chief Engineer`s report of 1866. The title continues "from the passage of Peach Tree Creek, July 19th, 1864 to the commencement of the movement upon the Enemy`s lines of communications south of Atlanta, August 26, 1864." The map extends to show the towns of East Point and Decatur and northward to Buckhead. Details the Union and Rebel positions in the Battle of Atlanta, the Battle of Peach Tree Creek, and the Battle of Ezra Creek in red and blue overprinting. Scores of small towns and villages, headquarters` of various armies, and much more are located. This is plate No. 2 from the report and is the earliest printed street level map of Atlanta. This early published map describes the intense military conflict to take Atlanta from the Confederacy. 21" W x 12" H Issued folding with light toning along the folds, a hint of offsetting, a few tiny splits at fold intersections, and a binding trim at lower left.
1975 ROLLS-ROYCE Corniche Châssis DRD22322 Carte grise française. La Corniche cabriolet est un monument de l’automobile. La voiture la plus chère du monde à l’époque est aujourd’hui encore un somptueux vaisseau doté d’une grâce et d’une élégance que peuvent lui envier la plupart des voitures modernes. Le niveau d’équipement et ses lignes restées très actuelles en font une voiture qui s’est propulsée droit dans le 21ème siècle sans aucune difficulté, bien au contraire. Ce très beau cabriolet à la robe blanche tirant vers le nacre est dans un état général tout simplement superbe. Lorsque notre spécialiste est allé l’inspecter, il a pu constater qu’elle n’avait aucun problème au démarrage (n’avait pas démarré depuis 15 jours) et ne présentait aucune tâche d’huile ou plus grave, de liquide hydraulique. La planéité est parfaite, la baie moteur est remarquable de propreté, de même que ses soubassements. Les chromes eux aussi sont irréprochables tout comme les cuirs ou encore le plancher de coffre. La capote et son mécanisme sont eux aussi en excellente condition et elle s’opère remarquablement aisément puisque le moteur de capote a été révisé récemment comme nous l’a indiqué le propriétaire. Française depuis 2011, elle est en carte grise collection et bien que son historique Américain soit inconnu (les douanes américaines gardent très souvent les dossiers), il est immédiatement visible qu’elle a été soigneusement entretenue. L’essai routier que nous avons pu faire entre Paris et Moret nous a confirmé qu’elle se comporte aussi bien sur la route qu’elle présente extérieurement et intérieurement. The Corniche we are offering is an American import which has been in France since late 2011. American customs make it a habit of keeping service histories but it is immediately apparent that this was a loved and cherished Rolls. The first thing you want to check on a Corniche is whether it sits level which it does. It hadn’t been started for the last 2 weeks when our specialist inspected it and it started on the button leaving no oil leaks on the floor whatsoever. The engine bay is impressively clean as are the underpinnings or boot floor. All the brightwork is unscathed and reflects sunbeams like it first did when leaving Crewe. The burgundy hide is in tremendous condition just like the wood and sundry chrome bezels scattered around the cabin. The white hood is also in a beautiful state and the motor was recently overhauled, it operates just fine. We drove it back from Paris to Moret in great comfort and refinement and without any issues.
Tri-ang doll`s house or similar, wooden doll`s house on large base with chain fence, two storey house with two rooms on each level and staircase/hallway in middle, open back, four windows and door to front (one window pane missing), with garage with hinged doors to front, dimensions (cm) of W 98 x H 61 x L 49. Appears G, with some damage to garage roof, wallpaper stripped inside, some chips, etc.
Two doll`s houses: first is a two storey wooden doll`s house with hinged front, comprising of two upstairs rooms and two downstairs rooms with opening windows (one window missing), contains five pieces of bedroom furniture, dimensions (cm) of W 68 x H 41 x L 27, F-G with some scrapes and scratches and many tears and creases to roof; second is a Triang three storey wooden doll`s house with hinged front, windows and doors to front, electric lighting, comprises of two rooms on each level, covered with brick effect paper on outside (torn at back), dimensions (cm) of W 54.5 x H 96 x L 34, G. Together with a quantity of doll`s house furniture.
THE HIGLEY & DENNIS HALLIDAY `ARCHIVE`, comprising approximately 650 assorted photographs spanning approximately 1895-1965, including private and professional images, some annotated or in albums, marked envelopes, others loose, some duplicates; together with a large amount of documentation, mostly professional, including note books for vessel designs including three for Thompson`s 40ft Hydroplane for 1907-9; the S.Y. Varuna (1896-97); S.Y. Gunilda (1897); two notebooks dating 1900-1904 connected to Thornycroft; assorted pre-War sales brochures for Thornycroft; Dixon & Halliday etc.; copies of yachting publications reviewing their products; a quantity of material pertaining to Iris and HH`s single-handed voyage from Southampton to Gravesend in 1905; several manuscript blue prints and some pinned loose notes made for various small craft approx. 1900-1940; a copy book for a number of craft dating from 1954-56; company deeds and documents; client correspondence; relevant magazines and papers containing news and reviews of the company or its personnel etc; and a quantity of papers and photographs concerning the early history of Little Ship Club, London of which HH was a founder member and lecturer, (a lot - sold not subject to return)Property from the estate of the late Dennis Halliday, Edmund Walter Higley Halliday (1875-1962), born in Reading, Berkshire, was a recognised naval architect and marine motor engineer with a prolific career that spans from 1902 until the early 1950s. He was one of the founder members of the Little Ship Club and was actively involved in providing shore based training in the late 1920s and 1930s to members of the Royal Naval Volunteer Supplementary Reserve during The Second World War. He started his career at the famous Thornycroft ship building works in Church Warf, Chiswick, with the design of the firm`s 40 ft. 1904 motorboat Champak and only one year later entered into partnership with Geale Dickson trading as "Dickson & Halliday Naval Architects & Marine Motor Engineers" in Southampton. In April 1905 he designed and built the Iris for Messrs Perman & Co Ltd. and accepted a wager to run it single handed and non-stop from Southampton to London Bridge, an adventure which was extensively reported in the national press. During these years Dickson & Halliday enjoyed some success at a competitive level. The partnership dissolved in 1907 with Halliday returning to Chiswick and trading from 1909 as "Higley Halliday, Naval Architect & Marine Motor Engineer" where he developed a close working relationship with Frank Maynard who built many of his designs. During the First World War he designed cane and canvas collapsible boats for the War Office, but it was in the 1920s when he resumed his association with Maynard that marked the peak of his career with a variety of designs including harbour launches with fitted petrol/paraffin motors of between 20ft. and 30 ft; experimental steam patrol launches, air-propelled hydroplanes (1925), hydraulic propelled launch (1923) and tug (1923) and an electric launch (1924). By the late `20s and early `30s he was focusing much more on his role as teacher and consultant. A founder-member of the Little Ship Club, he was appointed honorary instructor in seamanship in 1929, where his cheery personality and his aptitude for dealing thoroughly and in an easily understood manner with any branch of the subject led him to lecturing to sometimes up to 120 people - including a strong female following, whilst his interest in motor boats, made him very popular among the younger members of the Club. During this same period, his designs also shifted from bespoke to smaller standardised motor yachts, becoming a popular and affordable option for the mass market and included "Nanona" (1927), "Maralia" (1927), "Sport" (1928) and "Spray" (1930). Kept busy during World War II, his motor yachts Karen II and Bendor were requisitioned as `Little Ships` in Operation Dynamo, Halliday became a central figure as an instructor to the amateur yachtsmen who formed the Royal Naval Volunteer Supplementary Reserve (subsequently the London Flotilla) at the Little Ship Club. He was appointed Lieutenant and a "Four Striper" in the R.N.V.R. Sea Cadet Corps and club members presented him with an onyx cigarette box by way of thanks for his services to the club (see lot 230). After the war he retired from an active role although he remained a member of the Thames Ship-lover`s Society and The World Ship Society. He died on 27 December 1962 aged 87.
AN ABRAHAM ABRAHAM BRASS SURVEYING OR Y LEVEL THE ONE AND ONE EIGHTH INCH TELESCOPE WITH FOCUSING SLOT AND BUBBLE LEVEL, WITH MILLED SCREW ADJUSTMENT, ENGRAVED ON THE TELESCOPE A ABRAHAM LIVERPOOL, IN FITTED MAHOGANY CASE, 41CM W, 1818-50, A VICTORIAN GEOLOGIST`S HAMMER IN LEATHER CASE, A VICTORIAN MAHOGANY INSTRUMENT CASE CONTAINING SEVERAL LATER DRAWING INSTRUMENTS, A KODAK FOLDING CAMERA WITH PNEUMATIC SHUTTER, LEATHER CASE AND A SET OF TWENTY THREE MAGIC LANTERN SLIDES OF LEPIDOPTERA BY NEWTON & CO., 3 FLEET ST., LONDON, LATE 19THC
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