Matchbox Superfast group of mostly Cars. (1) 27b Lamborghini Countach Streakers Issue - burnt orange body with lime green & black tampo print, turquoise green windows, grey interior, matt black base; (2) 52c BMW M1 with matt black base; (3) 55d Ford Cortina - bare metal base with "gunmetal" effect (minor factory casting flaws to hood & trunk); (4) 62d Chevrolet Corvette - metallic red body with hood tampo print only, pale grey interior, bare metal base; (5) 59d Porsche 928 with silver painted base; (6) 70d Ferrari 308 GTB; (7) 74c Cougar Villager - lemon yellow interior, bare metal base with "gunmetal" effect - Excellent to Mint in Fair but still complete to Excellent boxes; (8) Regular Wheel 36c Opel Diplomat - chrome engine, matt black base with tow guide & front bumper extension - Excellent Plus in Fair but still complete type E4© box. (8)
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Matchbox Speed Kings K21 Mercury Cougar Dragster - metallic magenta body with "Bender" door & trunk labels, clear windows, white interior, bare metal base - overall Near Mint but does have factory paint flaws to roof in Excellent Plus type I box and K24 Lamborghini Miura - metallic dark blue body with yellow bulls head & sword hood label, lemon yellow rear opening engine cover, clear windows, ivory interior, silver painted base, 5-spoke wheels - Excellent Plus in generally Excellent type I box but does have some damage to perspex window. (2)
Matchbox Superfast group of Made in England models. (1) MB8 Rover 3500 Police Car - black plastic roof siren, blue windows, tan interior; (2) MB12 Citroen CX Ambulance with bare metal base; (3) MB16 Pontiac Firebird T-Bar; (4) MB21 Renault 5TL - white body with red & yellow racing number 21 Celtic tampo print, tan interior, gloss black base; (5) MB33 James Bond 007 A View to a Kill Renault 11 Taxi; (6) MB37 Matra Rancho - yellow body with burnt orange side stripe, black interior, yellow base, wide 5-arch wheels; (7) MB44 Ford Sierra XR4i in promotional box; (8) MB56 Mercedes 450 German Police Car - white body with dark green tampo print, black plastic roof siren, blue windows, tan interior, bare metal base (hood & trunk tampo print has shrunk with resultant crazing) - Excellent to Mint in Fair to Good Plus window boxes all of which have been opened; (9) MB31 James Bond 007 A View to a Kill Rolls Royce Silver Cloud II - Good Plus with scratches to roof in Good opened window box. (9)
A substantial Indian ebony figure of an elephant. Height 46cm, together with another, height 30.5cm and three small examples (5).The large elephant has several large splits and cracks, some of which have been filled and coloured, there are also a few breaks and screw repairs including the trunk, ears and the side of the head. Both trunks are missing.The smaller example has several filled splits and cracks.
An 18th century French walnut domed trunk, finely carved with coats of arms, initials and further regalia to the lid, the front with two portraits of a king and queen, height 70cm, width 105cm, depth 47cm (some faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Chinese carved wooden trunk, profusely carved with figures and landscapes, height 61cm, width 102cm, depth 52cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A fine patinated brown leather travelling trunk: two side carrying handles and one end with applied oval Parisian brass maker's label 'Au Départ', leather re-enforced corners and original paper maker's label to interior of lid, pull-out tray and the end of the trunk stencilled in black ink 'Sykes' (112.5cm wide x 57cm deep x 34.5cm high) The underside with three full-width wooden strengtheners with castors
A 20th century reproduction Portuguese 17th century brass and mahogany gimbel wall mounted marine stick barometer. The brass mounted glazed hood enclosing an engraved silvered dial with black enamel numerals, inscribed "JJ B L M 1622, R N Desterro, Lisbon", above a brass weighted mahogany trunk, H 95 cms.
An oak Longcase Clock, in the 19th Century style, with moulded cornice above a carved frieze and a brass dial, the silverised chapter ring with Arabic and Roman numerals, flanked with spiral pilasters, the trunk door with cruciform panel on a conforming box base, 191cms x 43cms (75'' x 17''). (1)
A large folding Louis Vuitton style Trunk Wardrobe, the entire covered in typical brown tartan design, with light brown leather type binding on all edges, with brass corners etc., with opening sides and one top, the interior with suit and other trays, two small fitted briefcases, with all hangers stamped 'Made in Paris by Louis Vuitton, Paris & London,' the front heavy brass lock stamped 'Made in England E.3' approx. 102cms (40'') tall, & 112cms (44'') when fully opened. The top and sides stamped 'Rosales', probably the original owners. (1)
Dedicated and signed 'à l'ami Colville/J.J. Tissot' bottom right; also illegibly inscribed in pencil (by another hand) 'Antoine [illeg.] (Colville) / Porzellanmaler [?]ab. 1793 Ruffey sur Seille/Jura/1867' on the middle stretcher bar verso, oil on canvas19 1/2 x 22 1/4 in. (49.5 x 56.5cm)Executed circa 1864.Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceThe Artist.A gift from the above.Collection of Antoine Colville.Collection of Mr. and Mrs. John Marqusee, New York, New York.A gift from the above.Private Collection, Philadelphia, Pennsylvania.Exhibited"James Jacques Joseph Tissot, 1836-1902: A Retrospective Exhibition," Museum of Art, Rhode Island School of Design, Providence, February 28-March 29, 1968; and Art Gallery of Ontario, Toronto, April 6-May 5, 1968 (traveling exhibition), no. 5LiteratureDavid S. Brooke, Michael Wentworth et al., James Jacques Joseph Tissot, 1836-1902: A Retrospective Exhibition, an exhibition catalogue, Rhode Island Museum of Art Rhode Island School of Design, Providence, 1968 (illustrated).Michael Wentworth, James Tissot, Clarendon Press and Oxford University Press, New York and Oxford respectively, 1984, pl. 22 (illustrated).NoteWe wish to thank Ms. Krystyna Matyjaszkiewicz for confirming the authenticity of the present lot, and for her assistance in preparing the below catalogue entry.During the early years of his career, James Tissot (1836-1902)—christened Jacques Joseph but known as James from childhood and using that name professionally as an artist—painted compositions of figures in historical dress, as well as undertaking portrait commissions. At first he used costumes based on German 16th century fashions, which were considered to be “medieval”. After a visit to Italy, including Venice, Tissot extended his costume range to include Italian and French-inspired late 16th century garments. Such costumes appeared frequently on the Paris stage at that time in both operas and plays, such as Les Huguenots and Hamlet. History pictures depicting the same era, when Henri IV was king of France, had also been popularised in the 19th century by artists whom Tissot admired, notably Jean-Auguste-Dominique Ingres (1780-1867). Tissot either borrowed “Huguenot-style” theatrical dress or had similar garments made up by dressmakers, as a number of pieces are worn by models posed in different ways for various historical-dress compositions, including Sur la Plage.The young woman in the centre wears a black gown with sleeves that are puffed and “paned” or slashed at the top, and close-fitting below. White edging emphasises the paned sleeves and high neckline, with a tall collar ending in a small white ruff. The paned sleeves reveal a pale-grey silk lining below. She wears a matching black velvet cap with white feathers. A black chalk drawing by Tissot of a bare-headed model wearing the same dress is known (currently unlocated) and the same costume appears full-length in Promenade on the Ramparts, 1864 (Cantor Arts Centre, Stanford University, California), Tentative d’Enlèvement [The Attempted Abduction], 1865, and Le Rendez-vous, about 1867 (both unlocated). Both male costumes also feature in Promenade on the Ramparts, where the boy in pink jerkin and black puffed-sleeve jacket has grey hose and black shoes rather than the over-the-knee boots he wears in Sur la Plage, and the man has different trunk hose with grey rather than buff-coloured jerkin.The white and grey horses, and a dark-coloured animal beside the man that might be intended as a mule or donkey rather than a horse, are lightly sketched in. The dog is sketched with more confidence than the other animals, and dogs of various types appear in many of his works but horses are rarer. Although the painting was not sufficiently complete for exhibition, it was probably liked, and may have been requested by Tissot’s friend, Antoine Colville (1793-1867), to whom it was dedicated by the artist. Colville painted miniatures and was also employed to decorate ceramics. He was born in the Jura, west of France, near to where the family of Tissot’s father had lived after emigration from Italy, and their origins may have linked the two artists.Tissot’s paintings often provide hints of stories, leaving the viewer to imagine what may have occurred or is about to happen. Given the historical costumes, the figures on the beach here could be Huguenots escaping from persecution and waiting to escape France by boat. In escaping they haven’t been able to take much with them, as no baggage is evident. Alternatively they might be waiting for someone about to arrive by sea. The rocky cliffs and narrow stretch of sand suggest precariousness. Both adults are looking out to sea but the boy is looking directly at the viewer (and the artist), sullen and less than happy about having to sit and wait.Frame: 25 12 x 28 x 2 1/2 in.The relined canvas in overall very good condition. Examination under UV light reveals scattered areas of old greenish varnish, indicative of a clean. We also notice two small areas of restoration: one to the right of the male figure, in the rocky background; and another on the central horse's mane and neck (pinpoint sized). For more information, please see Specialist's images. To have access to such images, please email Raphael Chatroux at rchatroux@freemansauction.com.
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66892 item(s)/page