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Click here to subscribeKonvolut Model Autos, 6 Stückalle hochwertig aus Metall mit vielen Details. BMW Isetta 250; in Babyblau; 1953 Chevrolet Corvette von Franklin Mint 1:24; 1961 Jaguar E-Type von Franklin Mint 1:24; 1960 Mercedes-Benz 300SL Roadster von Franklin Mint 1:24; Henschel 1926 als Aral Tankwagen, Mercedes LKW WUMAG Gelenkbühne von Siku mit Pump Funktion und Tank.
Konvolut Model Autos, 5 Stück, 1:24alle hochwertig aus Metall mit vielen Details. 1933 Duesenberg SJ Twenty Grand von Franklin Mint 1:24; 1930 Duesenberg J Derham Tourster von Franklin Mint 1:24; 1935 Mercedes-Benz 500K Special Roadster; 1925 Hispano-Suiza Kellner H6B von Franklin Mint 1:24; Mercedes Benz 770 von Paul's Model Art 1:24. Modelle stellenweise mit abgefallenen / abgebrochenen Anbauteilen, siehe Fotos.
Konvolut Auto Modelle Maßstab 1:16-19 - Ges. 10 StückFerrari F40 (1987) von Bburago 1:18; Jaguar Mark II (1959) von Maisto 1:18; Ford V8 Echelle von Soldio 1:19; Packard 1899 als Franklin Mint Precision Model (beschädigt); 1913 Ford Model T von Franklin Mint Precision Models, hochwertig aus Metall sehr detailliert (1:16); VW Käfer 1949 Deutsche Bundespost von Solido 1:17; VW New Beetle (1998) von Bburago 1:18; VW Microbus Concept Car von Revell; Citroen DS 19 Berline 1963 (Ref.: 8033CG) von Solido in OVP, 1:18; BMW DIXI von Ricko 1:18.
Konvolut Model Autos, 5 Stück, 1:24alle hochwertig aus Metall mit vielen Details. 1938 Jaguar SS 100 von Franklin Mint, 1936 Bugatti Atalante Type 57 SC; 1935 Mercedes Benz 500K Special Roadster; 1933 Duesenberg J. Victoria von Franklin Mint; BMW DIXI von Ricko (auf orig. Platte verschraubt.).
Philips A48U Röhrenradio um 1941/42Rundfunkempfänger von Philips France, Paris um 1941/42. Model Arpège 48U (A48U). Intaktes Bakelitgehäuse mit ausklappbarer Regeleinheit, ohne Drucktasten, mit Einstellrädern. Mit Langwelle, Mittelwelle und Kurzwelle, 6 Kreis(e) AM, 4 Röhren. Superhet Prinzip, Zwischenfrequenz 472 kHz. Mit originalem Kabel und Bakelit Stecker. H. 20,5cm, B. 31cm, T. 16cm. Guter Zustand, Funktion nicht geprüft.
A crate of books, magazines and annuals; More Eves without Leaves photograph studies by Walter Bird Roye John Everard. Model 6- presenting 58 pages of outstanding studies photographed exclusively by Russell Gay.Bruce Lee Motion pictures on paper Volume 2. Bruce Lee Magazines. The Making of "The Goodies Disaster Movie" Annual. Puffin picture books and Hippo Books. Great Tales of terror and the Supernatural- dated 1971. The Royal Air Force Small arms association Handbook 1956. Cigarette card albums and Medley Macabre edited and compiled by Bryan A. Netherwood- reprinted 1970
ERNST LUDWIG KIRCHNER (GERMAN 1880-1938) ZWEI FRAUEN IM GESPRÄCH [TWO WOMAN IN CONVERSATION], c. 1921 stamped with the Nachlass E. L. Kirchner mark and numbered P Da/Ba 5 in ink and K6796 and 6450 in pencil (to reverse), Indian ink and wash on paper 30.2cm x 36cm (11 7/8in x 14 1/8in) Theo Hill Galerie, Cologne, 1968;Anthony Hepworth FIne Art, Bath;The Collection of Gillian Raffles. This work is listed in the Ernst Ludwig Kirchner Archives, Wichtrach/Bern and will be included in any forthcoming catalogue raisonnés of the artist's graphic works,Exhibited:Mercury Gallery, London, Summer Exhibition, 11 June - 15 September 1973, no. 191, illustrated in exhibition catalogue. ‘I learnt to value the first sketch, so that the first sketches and drawings have the greatest worth for me. How often I’ve failed to pull off and consciously complete on the canvas that which I threw off without effort in a trance in my sketch…’ Ernst Ludwig Kirchner, ‘Zebdher Essay’, recorded in his diary, 1927 Ernst Ludwig Kirchner’s Zwei Frauen im Gesprach is the perfect expression of the ‘modernist primitivism’ that defined German Expressionism in the early 20th Century, both that of the Die Brücke group (of which Kirchner was the founder and leading light) and its Munich counterpart, Der Blaue Reiter, led by Kandinsky. Both groups sought to free art – and life – from the shackles of bourgeois ideals and (in art) stifling Academism, alighting upon the cultures of non-European peoples as ciphers of a more direct and intuitive emotional ‘truth’, in particular the art of the Pacific (inspired by Gauguin) and of Africa. Whilst today we would look at the Expressionists’ approach to non-Europan art as a form of cultural appropriation, based on fundamental misconceptions of this art being ‘primitive’ rather than highly sophisticated in its own right, this approach was, at least, wholehearted in its intention: Kirchner and his contemporaries were genuinely looking to the non-European for something lacking in the West, their ‘primitivism’ beyond a mere imitation – rather a search for authenticity, a direction of travel to express true modernity. In Zwei Frauen im Gesprach, we see two young women in conversation in what looks like Kirchner’s studio – which itself was a gesamkunstwerk (total art work) of hand-printed batik hangings, dark painted walls, hand-carved furniture and African objects. In the background, we see one of these objects, a small totemic figure, listening in, perhaps, to what these two thoroughly modern women are discussing. The figure on the left, with her bobbed hair and arch hand gesture looks like she has stepped straight out of a Berlin cabaret. Indeed, she could well be the dancer Nina Hard, renowned for her slick black bob, whom Kirchner had met in Zürich in May 1921 and who was to became an important model and muse for him. And this sculpture in the background could well be African, brought back by the brother of fellow Die Brücke artist Erich Heckel, who held a job in colonial East Africa, but equally it could be a work of Heckel or Kirchner’s own making, as modern as the women themselves. Kirchner’s sculptures of the 1910s are incredible hybrid works, far beyond imitations of African art and distinctly European, that don’t really find their counterpart until Georg Baselitz’s chainsaw carvings of the 1980s. In Zwei Frauen im Gesprach Kirchner shows his mastery of brush and ink, which perhaps could be said to be the medium of German Expressionism. The brush allows for bold, jagging lines and an emphasis on outline over shading, as sculpting the figures on paper as they would with chisels out of wood; and the ink allows for speed – an idea as modern as modern can be. Brush and ink allows spontaneity, a definitiveness of gesture, that Kirchner, Heckel and fellow members of Die Brücke honed in their ‘quarter-hour’ life drawing sessions, where working quickly became analogous to working without premeditation – or as Jill Lloyd puts it, speed of execution becomes an ‘attempt… to catch modernity on the wing’. (Jill Lloyd, German Expressionism: Primitivism and Modernity, Yale University Press, New Haven & London, 1991, p.45)
SŌRI YANAGI (JAPANESE 1915-2021) FOR AKITA MOKKO, YUZAWA CITY, JAPAN MIRROR, c. 1975 applied manufacturer's label (to reverse), beech wood and glass 75.5cm x 60.5cm (29 ¾in x 23 ¾in) Literature:Forms Born of Sori Yanagi, Kanazawa City, Noto Publishing Department, 2003, pp. 93 and 140 for examples of this model.
SIR WILLIAM NICHOLSON (BRITISH 1872-1949) NANCY IN A FEATHER HAT (THE ARTIST'S DAUGHTER), 1910 signed and dated (lower left), oil on canvas 75cm x 62.2cm (29 ½in x 24 ½in) with the Goupil Gallery, London, where purchased by the 9th Duke of Marlborough (Charles Spencer-Churchill 1871-1934) and returned;probably with P. & D. Colnaghi Ltd., London;Christie's, London, 7 December 1917, lot 21, as Portrait of the Artist's Daughter (260gns) to Frederick Leverton Harris MP (1864-1926);An unidentified Scottish collection;J. & R. Edmiston Auctioneers, Glasgow, 26 March 1929, lot 36, as The Artist's Daughter (The Feathered Hat) (£100 16s.);with Ian McNicol, Glasgow;Christie's, London, 1940-1 (catalogue untraced);with Piccadilly Gallery, London;J. E. (Jack) Posnansky and by descent to his daughter Gillian Raffles;The Collection of Gillian Raffles. Exhibited:Goupil Gallery Salon, London, October – December 1910, no. 108 (£315);XIV Esposizione Internazionale d’Arte della Città di Venezia, April - October 1924, no. 53, as Ritratto di ragazza con berretto piumato.Literature:Stokes, Hugh, ‘The Goupil Gallery Salon’, Country Life, Vol. XXVIII, no. 722, 5 November 1910, p.635;Ladies' Field, Vol. LII, no. 664, 3 December 1910, p.6;The Art Journal, December 1910, p. 383, illustrated;Baldry, A. L., ‘The Paintings of William Nicholson’, The Studio, vol. LIII, no.219, June 1911, pp.8-9, illustrated;Reed, Patricia, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd., London, 2011, p. 172, cat. no. 178, illustrated.This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026. Portrait of the Artist’s Daughter: Nancy in a Feather Hat by William NicholsonFirst exhibited in 1910 to widespread acclaim, the re-appearance in public of Nancy in a Feather Hat, a portrait by William Nicholson of his daughter, is a major event in the current evaluation of the artist’s standing within twentieth-century British art history. Nicholson met the Scottish artist Mabel Pryde (1871-1918) in 1888, when they were students at Hubert von Herkomer’s art school in Bushey, Hertfordshire. They eloped five years later and their children, the artist Benjamin (Ben), the soldier John (Tony), the designer Annie (Nancy) and the architect Christopher (Kit), were born between 1894 and 1904. The children sat for both of their parents and Patricia Reed has stated that ‘as a child, Nancy was Nicholson’s favourite model’ (Patricia Reed, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd, London, 2011, p. 67). His earliest recorded portrait of her dates from 1901 when she was aged about two (Reed, op.cit., no.33), whilst Nancy with Ribbons (Reed, ibid., no.34) of the same year became the first of his works to be acquired for a public collection when it was purchased for the Galleria d’Arte Moderna in Venice in 1905.Nancy in a Feather Hat was painted during a particularly auspicious period in Nicholson’s career. The family were established in homes in Mecklenburgh Square, London and Rottingdean in East Sussex, whilst his prowess as a portraitist was acknowledged by election to the Royal Society of Portrait Painters (1909) and his role as a founding member of the National Portrait Gallery (1910). A successful solo exhibition was staged at the Chenil Gallery in 1910 and William Marchant of the Goupil Gallery had become his main dealer.In her description of the present portrait, Reed has explained:‘The artist’s daughter, Nancy, aged ten, wears a blue shawl and a large feather hat, while the bouquet to her right suggests that she is a flower-seller. The apricot-coloured ostrich feathers and blue shawl were William Nicholson’s starting-point, but it is Nancy’s personality that attracts the viewer’s interest.’ (Reed, ibid., p.172). Indeed, the work encompasses not only the intimate yet unsentimental bond between father and daughter, but also Nicholson’s bravura use of dressing-up and other props to weave a suggested narrative, a deft manipulation of chiaroscuro and the use of contrasting colours to highlight aspects of a rhythmic composition. By presenting his sitter in a shallow, undefined space and in front of a plain, dark background, a palette based as much on monochrome as complimentary colour fields is used to the full, wielded by way of his beautiful handling of oil paint, in which fringe shawl and flower petals are realised with as much attention as tones of complexion and the texture of feathers. Nancy was to bear out the independence suggested at this age in adulthood, not least by applying feminist principles to her marriage to the poet Robert Graves and to her career designing and printing fabrics.When Nancy in a Feathered Hat was exhibited in the Goupil Gallery Salon in 1910, it was singled out for praise in the press from Country Life to The Studio. It was one of twenty-two works by Nicholson to be shown at the Venice Biennale of 1924, a milestone in his international career. Its illustrious provenance involves the 9th Duke of Marlborough (briefly) and includes the British businessman and Member of Parliament Frederick Leverton Harris. It was eventually acquired by Gillian Raffles’ father, J. E. (Jack) Posnansky, from whom she inherited it.This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026.
JOHN BEHRINGER (AMERICAN 1939-) FOR FABRY ASSOCIATES INC. PAIR OF 'LINK' BENCHES, DESIGNED 1961 model 656, with labels for the distributor Mobilier International, France, skai and aluminium 39cm high, 171cm long, 55cm deep (15 3/8in high, 67 3/8in long, 21 5/8in deep) (2) Examples of Behringer's ‘Link’ benches featured in the film American Gigolo.
DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995) AND HANS COPER (GERMAN/BRITISH 1920-1981) POURING VESSEL, c. 1950-55 impressed maker's seals, stoneware, with manganese and white glazed top 11.5cm high, 19.2cm wide (4 ½in high, 7 ½in wide) Purchased directly from Lucie Rie, circa 1951-55, and by direct descent to the present owner;Private Collection, U.K. This pouring vessel was made during the period that Rie and Coper shared her London studio, and is impressed with both maker's marks. It is a rare model, and it is thought that Rie designed models from this set, whilst Coper glazed them, as Rie stated she would have applied a narrower cream band to the rim. The V&A; Museum hold a jug and two beakers of a similar design.
MIRIAM HANID (BRITISH 1986-) CORIOLIS CENTREPIECE, 2009 stamped maker's mark, 999 and hallmarked for London 2009, fine silver 6cm high, 43cm wide, 25.5cm deep (2 3/8in high, 17in wide, 10in deep) Acquired at Goldsmiths Fair, directly from the maker, October 2009. Miriam Hanid created two versions of Coriolis—the first in 2009 – this example - which was later shown to the National Museum of Wales. Impressed by the work, the museum then commissioned and acquired a second version in 2010. The opposing directions in this model reference the Coriolis Force, the effect of the spinning earth on underwater currents. “In Coriolis we see hard metal transformed into a fluid form apparently tugged in opposite directions by competing forces. This, as its name indicates, is inspired by the Coriolis effect, the influence that the spinning of the Earth has on ocean currents and weather patterns.These tensions – between hard and fluid, between clockwise and counter-clockwise, between traditional technique (chasing and repoussé, flat chasing and engraving) and contemporary sculptural expression – combine to give the piece a remarkable sense of compact energy and dynamic potential.” (Andrew Renton, Head of Applied Art, Amgueddfa Cymru – National Museum Wales)