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Juan Correa (Mexico City, 1646 - 1716).‘The Indian Juan Diego presenting the Virgin of Guadalupe to the bishop of Mexico Juan de Zumárraga’.Oil on canvas. Signed and located in Mexico.28 x 64 cm. Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'"The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones."His origins were reflected in his creations, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion," a fact that "would become an unmistakable hallmark in his creations."Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the ViceroyaltyOur Lady of Guadalupe, venerated in Mexico with great devotion, is the patroness of the country and the most important incarnation of the Virgin Mary in Latin America. Although the Our Lady of Guadalupe from Extremadura (Southern Spain) accompanied the conquistadors in their great adventure to the New World, the Mexican Virgin has her own origins. Both oral tradition and historical documentation, particularly the Nican Mopohua, narrate the different miracles and apparitions of this virgin to the indigenous man baptised with the name Juan Diego (1474-1548) on the hill of Tepeyac in 1531.According to the legend, there were four appearances of Our Lady of Guadalupe: In the first one, the virgin entrusted Juan Diego to see the bishop Fray Juan de Zumárraga and let him know her will to have a temple built in her honour in the place where she had appeared. Juan Diego obeyed, but the bishop did not believe him. In the second appearance, Juan Diego tells him what happened and asks the Virgin Mary to use another messenger because he was just a poor Indian. The Virgin Mary tells him that it was necessary for him to return to the bishop and repeat the message. Bishop Zumárraga asked him to bring a sign to be sure that it was "the lady from heaven" he was talking about. In the third appearance, the Virgin Mary asked the Indian to go up the hill and cut the flowers he would find there. Juan Diego knew that no flowers grew on that hill, especially not in December, but he found the summit turned into a flowered garden. He cut the flowers and took them to the Virgin Mary in his "ayate" (tunic). Our Lady of Guadalupe instructed him to go back to the Bishop, tell him where he had picked the flowers, and indicate that it was the sign that the Virgin Mary wanted him to build a temple. In the fourth appearance, on December 12, Juan Diego told the bishop everything that had happened, and when he spread out his "ayate", all the roses fell to the ground, and the image of the Virgin Mother of God miraculously appeared on it. After this event, the church was built, and this astonishing image is, according to tradition, zealously guarded by the Basilica of Our Lady of Guadalupe.As a result of this event, the worship of Our Lady Guadalupe became enormously prominent, especially within the indigenous sector of the population, becoming one of the most deeply rooted in Mexico and part of its identity. It is not surprising that soon the Mexican devotees wanted to have a copy of this miraculous image, so reproductions and the artists dedicated to creating them proliferated. The fame of this incarnation of the Virgin Mary soon became universal, gaining great veneration throughout Europe, especially in Spain.This representation of the Virgin of Guadalupe is a faithful rendering of the original, with the subtle variations that each artist can provide. The beautiful Virgin Mary is depicted as standing, crowned and surrounded by a mandorla of sun rays amid a cluster of clouds. She is seated on a crescent moon with the points facing upwards, supported by an angel with colourful eagle wings. She is portrayed as a young woman with a serene face and a lowered gaze reflecting love, tenderness, and respect. With her knee slightly bent, she clasps her hands in prayer in the Western manner. She wears a pink tunic adorned with floral elements and a blue mantle decorated with stars that also covers her head. She wears a ribbon around her belly as Aztec women did during their pregnancies, thus announcing that she is a pregnant woman. The iconographic type clearly derives from that of the Immaculate Conception.In this case, Our Lady of Guadalupe is depicted without the Apparitions or other ornamental elements that frequently accompany her and can therefore be considered a strictly faithful copy of the original. Most of these faithful copies, which are more iconographically straightforward, correspond to the earliest ones, generally dating from the 17th century. The more elaborate ones, with cartouches representing the apparitions and miracles, elaborate floral frames, views of the city of Mexico, or the inclusion of angels and archangels, are more typical of the 18th century. All these copies carry an implicit message, as most of them were "touched to the original," so the miraculous character was transmitted, making them bearers of her divinity."Enconchado" technique, so beloved and used in Mexico, actually has Oriental origins. It is a pictorial technique carried out on wood in which sheets of mother-of-pearl from shells and molluscs are inlaid, combined, and fused with oil paint to complete the image. This allows for the play of iridescence, gleam, sparkle, and subtle light effects that are highly valued. Provenance:- Former Pedro Vindel collection.Pedro Vindel was an antiquarian bookseller from Cuenca, as reported by the Royal Academy of History, ‘who became the first Spanish antiquarian bookseller of his time’, with one of the most important collections of books of hours. As the RAH continues, ‘Pedro Vindel, in the style of the great European booksellers, published his catalogues from 1895, and organised several book auctions, in premises rented by him, such as that of 1913, the catalogue of which he had printed. He also initiated what he called ‘graphic bibliography’ in Spain, by including [...] photolithographic reproductions of the covers or other elements of the books in his catalogues’.For further information, we recommend reading ‘Pedro Vindel: Historia de una librería (1865-1921)’, by Pavl Cid Noé. Bibliographical references:- Toussaint, M. Pintura colonial en México. Instituto de Investigaciones Estéticas. Universidad Nacional Autónoma de México. Mexico, 1965.- Vargas Lugo, E. "El indio que tenia "el don"..." in Anales del Instituto de Investigaciones Estéticas, no. 86, 2005.- Sánchez Mariana, Manuel. (n.d.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez- Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231- Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383 

Castillian School. Circa 1500."Saint Quiteria and Saint Barbara"Oil or tempera with gold background on panel. Fragment of an altarpiece, possibly belonging to a predella.37,5 x 40,5 cm.Even though we have not been able to recognise the master behind these two saints, his great artistic skill is evident. The faces of both saints are delightful and of unfathomable sweetness.An exceptional panel that shows the splendour of the Aragonese Renaissance, both in the colour palette, with those shimmering tones on the tunics, as well as in the physiognomy of the models and the flesh tones on their faces and hands in tempera and oil. It is also evident in the perfect gold ground-covered surface for the backdrop, decorated with plant motifs and pointillé, a decorative technique used on gold which consisted of engraving different drawings with small chisel strokes or pricks, thereby pushing down the smooth gilded surface or the stucco mass. There is no doubt as to which saints they are, as they are named on their limbs, Quiteria and Barbara.Quiteria was alive during the 2nd century A.D. The daughter of a pagan Roman governor, her mother gave her up for adoption, along with her eight siblings, to prevent her honesty from being questioned and to preserve her virginity. According to Christian doctrine, this adoption brought her closer to God. Always linked to prayer, as she appears reading a book of hours, she would eventually meet her parents. Tradition has it that her father, as soon as he learned of her profession of faith, had her head cut off.Barbara came from Nicomedia, on the Anatolian Peninsula, in the late 3rd and early 4th centuries AD. Highly intelligent, she was the daughter of Diocorus, a wealthy pagan man. Through her reading and studies she questioned her paganism, and because of her religious concerns, she was instructed in the catechism and converted to the Christian faith. Because of her physical beauty, she had no shortage of suitors, but she kept herself a virgin in order to consecrate herself to God. Her father had a tower built to keep her from the eyes of strangers. On one of her father's journeys, she herself ordered the workmen to build a third window (she only had two) to honour the Holy Trinity. She was tortured for her faith, but she did not die as she received help and care from heaven.  As she refused to worship the pagan gods, her father finally cut off her head. After decapitating her, her father was struck by lightning and no trace of his body was left.In the panel, she is shown holding her most characteristic attribute, the tower in which she was imprisoned, at a reduced scale on her hand, as if it were a model. A moulding runs along it and frames it in the manner of the Gothic lines to strengthen a wall or window, in which verticality predominates over horizontality, underlining the mysticism of the figures it contains. This panel would clearly have formed part of the ‘flos sanctorum’ of the lower predellas or side sections of an altarpiece.Finally, it is interesting to note that marks of the gouge can still be seen on the back of the boards which are assembled horizontally and which form the panel, and the remains of rabbit glue dissolved in water as a grout can be seen, erasing imperfections and smoothing out the pine boards, the most advanced material used at that time for this type of work. 

Castilian school. 16th century.‘Temperance’ and “Justice”.Pair of carved, walnut wood reliefs. 47,5 x 42,5 cm. each. This pair of incredible quadrangular white walnut wood reliefs representing Temperance and Justice must have originally belonged to a liturgical piece of furniture which would also have contained the other two Cardinal Virtues, i.e. Fortitude and Prudence. It is most likely that they were part of a set of Renaissance pews - without categorically ruling out their belonging to a cupboard or a door - as representations of the Virtues were quite common in the pews of this period due to their moralising character, as we must bear in mind that the moral conduct of the Human Being rested on them.Given the technical characteristics of both reliefs, the remarkable skill and finesse with which they are carved, and the fact that sculpting in walnut and the making of pews and other ecclesiastical furniture were not commissioned from just any master, it seems clear that their sculptor was a relevant sculptor of the Castilian school and that they were carved around the second third of the 16th century.Both Virtues have been depicted, as is often the case, as women of classical appearance, almost like Roman matrons or noble maidens with sophisticated headdresses. They wear wide, fine garments completely covered with small pleats that make the edges of the garments extremely faceted.The wet cloth technique is simulated in some areas, with which not only the plastic and volumetric values of the reliefs are highlighted but also the voluptuousness of the women, since through these fine garments the rounded forms of their bodies are suggested. As a general rule, they are worked in bas-relief, but in the most relevant areas, such as the heads, hands and attributes, the relief acquires greater volume, close to being in the round, but never quite reaching it.The heads are small, round and have expressive faces, serious in the case of Justice and more serene in that of Temperance. They have slanting eyes, carved with great detail both in the iris and the eyelids, and above them, sharp curved eyebrows that give them personality, as well as a chiaroscuro in the area of the eye sockets that enhances their volume. The facial features comprise smooth foreheads, broad, elongated noses, marked nasolabial folds, small open mouths with thick lips and bulging cheekbones. The ears are not visible due to the elaborate headdresses that almost completely obscure their hair. In the case of Justice, we can see a scarf that leaves free a couple of snaky locks that slide down her temples, and a ribbon that the anonymous sculptor models with great skill, creating a series of curves and counter-curves while displaying it from different profiles with multiple folds. For her part, Temperance also wears a kind of veil that leaves free a pair of locks of similar characteristics to those of Justice. Above the veil, the end of which seems to be moved by the wind, is a winged head of a putti, one of the most characteristic elements of Renaissance vocabulary. This same putti is found on Justice's neckline, almost like a brooch. Finally, Temperance wears a kind of cloth hanging from the ends of the buckles that cover her ears.Both women are perfectly identified both by the Latin signs carved on the upper part of the panels - ‘TEMPERATIA’ and ‘IVSTICIA’- and by the attributes they hold in their hands. Thus Justice elegantly holds a scale in her right hand - the allegory of the equality with which she must act - while in her left hand she wields a sword - the symbol of the strength with which she imposes herself - whose long blade occupies the entire height of the panel. Temperance, on the other hand, is seen pouring water from a jug over a wide goblet filled with wine in order to temper what is too stimulating.The conception of the two figures differs from each other, for while Temperance presents a closed composition, withdrawn in on itself, as well as having a calmer character as it embodies the Virtue it is representing, Justice is conceived with an open composition -see the arms- and shows a more decisive and dynamic spirit. Both differences in state, tranquillity and impetuosity, can be seen in another specific detail that they both share: the way in which the wind moves or waves the scarf or ribbon that covers their hair. We would like to thank Dr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.

A Zeiss Ikon Ikoflex 850/16 "Coffee Can" TLR Camera, black, body G, some brassing around distance scale and minor paint loss, shutter working, focus working, iris working, lens is a Novar f/4.5 8cm, optics have some haze, viewing lens G.

A Cambrian Models Mk9 Spitfire Model Kit, 55 inch wingspan, approx 1/8 scale, assumed complete, not checked, in maker's box.

A George III mahogany stick barometer, by J. Search, Soho, London, c.1780, the silvered vernier scale in arched window, beneath three acorn finials, further signed to the lower scale, 103 cm.The tube seems intact and shows a consistent column of mercury that responds either up or down with the reservoir adjustment screw, the spirit of the thermometer is evident and looks as if it responds to a finger placed on the tube (but very faintly)Generally good order, and seems to be functioning, this is no guarantee of accuracy or reliability as with any antique scientific instrument..

Film Memorabilia: includes press stills, lobby cards and merchandise -Press stills include: High Heels and Low Lives (x2), Coyote Ugly, Scary Movie One, Little Voice, Mansfield Park, Very Annie Mary, High Fidelity, The Next Best Thing, Metro, End of Days, Hotel Splendide, Leon, The Rock, Deception, Gangster Number One, Sex, Instinct, Power, The Hurricane, Come in 60 Seconds, Cop-Land, Dracula and Brother;Lobby cards include: Operation Dumbo Drop, The Count of Monte Cristo (x2), Royal Tennabaums (x2), Instinct, Coyote Ugly, End of Days, House Guest, Holy Man, Keeping Faith, While You Were Sleeping, Bad Company, The Next Best Thing, The Rock, Signs, Insomnia, Sixth Sense, Snake Eyes, and Metro;together with, two Recruit men's grooming kits; two End of Days watches; two A Good Year wine bags; Lord of the Rings Two Towers watch; Starsky and Hutch Ford Grand Torino 1:18 scale model car with COA, and a Borat bathing suit. (53) From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.

Pastel blue meets a bright white VELCRO® strap on this non-limited model. All the hands are in white. A black tachymeter scale adorns a white-colored bezel. All dials in the collection carry the OMEGA X Swatch branding, the iconic Speedmaster logo and the MoonSwatch logo. The biosourced glass construction, the etched ‘S’ integrated in the center of the glass, the fine and sophisticated circular pattern on the dial outer ring and the recessed subdials, the angular and smooth lugs construction, the iconic ‘dot over 90’ detail on the tachymeter scale, and of course the unique Bioceramic feel are common to all models. The hour, minute, and chronograph seconds hands as well as the hour markers sport Super-LumiNova® for a perfect glow in the dark. *In accordance with our General Conditions of Sale, the lot is sold 'as is'. The auction house does not guarantee the accuracy of timekeeping or the condition of the lot. The buyer accepts full responsibility for any repairs, maintenance checks, or works that may be required. The condition or timekeeping state will not justify delayed payments or cancellation of the sale.

A SPANISH BLUE AND GREEN-PAINTED POTTERY CHARGER WITH PALMETTES Possibly Valencia or Manises, Post-Nasrid Spain, late 17th - early 18th centuryOf shallow rounded shape, resting on a concave, circular base, rising to a flattened, gently everted rim, the earthenware body covered in white slip, underglaze-painted in cobalt blue and copper green, and the décor enhanced with fine manganese purple stripes, presenting a fish-scale grid in-filled with palmettes in the central field, cavetto and rim, the exterior plain, mounted on a metal claw set for hanging.34.5cm diameter 34.5cm diameter Qty: 1

A YELLOW-ENAMELLED ROYAL VIENNA PORCELAIN SAHLEP MUG AND TWO PLATES FOR THE OTTOMAN MARKET Vienna, Austria, second half 18th centuryComprising a mug of cylindrical shape with rounded base and gently everted rim, the curved handle made of two interwoven sections, the stepped and domed lid enhanced with an applied porcelain white carnation finial at the top, the exterior gilt and enamelled in polychromes, the decoration typical of Royal Vienna porcelain sets made for the Ottoman market in the late 18th century, featuring floral sprays and buds, and a yellow and gold fish-scale pattern around the edges of the mug and lid, the foot stamped with the factory's mark and impressed with the numeral 59-811; and two porcelain plates, bearing the same decoration and once part of a set, each feet stamped and marked with numerals 330 and 95 respectively.The mug 19cm highEach plate 24.5cm diameter The mug 19cm high, each plate 24.5cm diameter Qty: 4

A MINIATURE QAJAR LACQUERED PAPIER-MÂCHÉ WEIGHING TOOLBOX Iran, 19th centuryOf rectangular shape, polychrome-painted, gilt, and lacquered, the top of the hinged lid decorated with three Qajar beauties clad in Westernised attires en plein air, set against an Italianate background, the composition encased within a frame of eight cusped calligraphic cartouches in black ink nasta'liq script, the reverse of the lid painted with a floral triumph issuing from an amphora-like vase, flanked by two birds, the interior carved to fit a miniature scale with weights, now missing.1.8cm x 6cm x 9.5cm 1.8cm x 6cm x 9.5cm Qty: 1

AN ISLAMIC WOODEN ASTROLABE QUADRANT Possibly North Africa or al-Andalus, Southern Spain, dated 1289AH (1872 - 73AD)Of typical shape with a curved edge and two square sides, made of wood, engraved on one side with an astrolabic grid and scale, inscribed with Arabic numerals, featuring clear and precise angular divisions, marked at regular intervals from 5° to 65°, at the top next to the scale an inscription in Arabic reading the date 1289AH and an auspicious saying referring to the Hajj (the pilgrimage to Mecca), one of the five pillars of Islam, the grid-less reverse with unmarked concentric circles.16.5cm x 17cm This wooden quadrant, dated to 1289AH (approximately 1872-1873AD), is an excellent example of utilitarian Islamic scientific instruments, likely originating from the MENA region. It is made of wood, possibly cedar or olive, both prevalent in North Africa and the southern regions of Spain and traditionally used for items that required durability and detailed carving. The quadrant was traditionally used in astronomy and navigation to measure the angles of celestial bodies and calculate time, a key instrument for Islamic scholars and navigators. The markings on the present example suggest its use for specific astronomical calculations, particularly for determining altitude and direction in relation to the horizon. 16.5cm x 17cm Qty: 1

Northamptonshire, Blaeu (Johannes), Comitatus Northantonensis vernacule Northampton Shire, Amsterdam, ci.1645, engraved map with contemporary hand-colouring, large decorative cartouche and mileage scale, very slight staining, double-glazed and framed, 41 x 49.5cm

Scale wooden model of Captain Cooks' boat Endeavour

The White Rose of York 1:24 scale model of the Burrell Showman's Engine (boxed)

Three various Durago scale model sports cars, a Franklin Mint Alvis and a Solido Bugatti Royale

1/8 scale Volvo F12 Truck model in glazed case having fully detailed cab interior, opening doors, working steering, etc

Three die cast collectors tractors;MF 7499 [1/32 scale]MF 35X [1/16 scale]Ford 8730 [1/16 scale]

Four die cast collectors tractors;ERTL International 650 Diesel [1/16 scale]International 8-16 Kerosene Tractor [1/16 scale]ERTL Antique Fordson Tractor [1/16 scale]Farmall F-20 Tractor [1/16 scale]

Five die cast collectors tractors;Allis-Chalmers 8070 Tractor 1/16 scaleAllis-Chalmers Model WD 1/16 scalePrecision Classics The Model 70 Diesel Tractor 1/16 scaleCase J.L.E Series #7 1/16 scale McCormick-Deering 10-20HP 1/16 scale

Four die cast collectors tractors;Magnum mark 50 edition [1/16 scale]ERTL International 600 diesel [1/16 scale]ERTL International Cub Tractor [1/16 scale]ERTL Fordson Super Major [1/16 scale]

Five die cast collectors tractors;Precision Series The Farmall Super M 1/16 scaleOliver 1555 Diesel 1/16 scaleCase International 606 1/16 scaleMassey-Harris New York Farm Show Feb. 1994 1/16 scaleCase International 2594 May 1985 1/16 scale

Four die cast collectors tractors;ERTL McCormick Farmhall 140 1994 Lafayette farm toy show edition [1/16 scale]ERTL Fordson Super Major [1/16 scale]ERTL International 1456 [1/16 scale]ERTL Super M-TA [1/16 scale]

Five die cast collectors tractors;Case DC3 tractor 1/16 scaleFendt Dieselross from 1930 1/16 scaleOliver Super 88 1/16 scaleFG IH 10-20 Mogul 1916 1/16 scaleOliver Hart-Parr 28-44 1/16 scale

Four die cast collectors tractors; ERTL Case 800 Tractor 1/16 scale Case International 5250 MFD 1/16 scale Toy Farmer Minneapolis Moline G750 1/16 scale Titan International Harvester Company 1/16 scale

Five die cast collectors tractors;1994 Farm Show Magnum Case International 1/16 scaleCase 10-20 Kero 1/16 scale Oliver 770 Farm Show Edition 1993 1/16 scaleThe Toy Farmer Diesel Case-o-matic Drive 800 1/16 scale Unboxed Allis- Chalmers tractor

Die cast collectors tractors.This is the complete set of IHC “66” Series.Produced between 1992 and 1994.1/64 scale.

Three die cast collectors tractors;Farmhall F-12 [1/16 scale]Massey-Harris 44 Special [1/16 scale]ERTL International 826 [1/16 scale]

Four die cast collectors tractors;MF 135 [1/16 scale]MF 1080 series [1/32 scale]ERTL Ford 8N [1/16 scale]ERTL Ford 9N [1/16 scale]

Four die cast collectors tractors;Allis-Chalmers D15 tractor [1/16 scale]MF Model 5480 [1/32 scale]MF Model 35X [1/64 scale]MF Model 8690 [1/32 scale]

Three die cast collectors tractors;Allis-Chalmers 175 [1/16 scale]Ferguson Tea 20 [1/16 scale]Fordson Major E27N [1/16 scale]

Four die cast collectors tractors;ERTL Ford Tractor 7740 [1/16 scale]MF PP-3057 [1/16 scale]MF 35X MF TEA20

Five die cast collectors tractors;Oliver 1955 WF 1/16 ScalePrecision Classics John Deere Model A Tractor with 290 Series Cultivator 1/16 scaleAgco Allis 9650 1/16 scaleOliver 1655 1/16 scaleAgco Allis 8630 1/16 scale

Three die cast collectors tractors; Case International 7140 [1/16 scale]Fordson Power Major [1/16 scale]Massey-Harris Challenger [1/16 scale]

Four die cast collectors tractors;ERTL 9150 AWD Tractor [1/16 scale]ERTL Fordson Super Major [1/16 scale]Case International T-340 [1/16 scale]ERTL International 1586 Tractor with Cab [1/16 scale]

*KATHLEEN MURIEL SCALE (MURIEL HARDING-NEWMAN) (1913-2006) 'He is Risen', signed "K. M. Scale" lower right, oil on board, 100cm x 88cm,Framed dimensions: 126cm x 115cm Exhibited: K M Scale/Harding-Newman - A Retrospective, Dorset Museum, 1995, no. 12. 

An unusual Arts & Crafts armchair of exceptionally large scale, late 19th century the beech frame of simple form with slightly bowed back and sweeping arms on turned front supports, with a rushed seat partially striped in red and green114 x 75 x 55cmsuper condition with no obvious damage or repairs exxcept for a slight splinter to one of the uprightsthe rush seat is almost certainly not original but a particularly attractive feature

§ Derek Davis (1926-2008), a group of seven stoneware footed bowls, each of small scale, variously glazed and six having irregular rims, all with signature to undersidethe largest 6 x 10cmProvenance: The collection of Quentin StevensonGenerally, these bowls are in good condition free from damage and repair, however, due to the nature of the 'rough' rim finishes, it is difficult to detect fritting and light chipping, but it is likely there is some very minor rim fritting to some.

A PAIR OF MEISSEN MARCOLINI PORCELAIN CABINET PLATESlate 18th/early 19th century, the outside decorated with estuary scenes within gilded purple scale borders, the decoration on panelled and moulded bodies, each 24.5cm diameter (2)

JOHN AND DHUIE TULLY OF FOCHABERS: A RARE CARVED WOODEN SALMON with hand-painted naturalistic decoration, mounted on a stained oak back board with bevelled edge, with painted legend “Springer caught by A. K. Wilson. Boat Meadow, Old Court, Whitney-on-Wye. 11th March 1923. Cock Fish Weight 43lbs. Length 47”. Girth 24”. River level 2’2”. Taken on a 2 1/2” black and gold Minnow”, 145cm x 66cmProvenance: John Tully (1862-1931) and Isabella (Dhuie) Tully, née Russell (1864-1950).From an important private sporting collection, Midlands.John Tully (1862-1931) and Isabella (Dhuie) Tully, née Russell (1864-1950)John Tully was born on 2nd January 1862, the eldest son of Thomas Tully of Fochabers and his wife, Anne Brand. Thomas Tully was a builder’s carpenter and John learned the skills of the business in his father’s shop. In 1880 at the age of 18, he entered employment at Gordon Castle, where he remained for almost fifty years, starting in the carpenter’s shop and finally becoming Clerk of Works. In 1905 John Tully married John Russell’s daughter Isabella (Dhuie). They became known throughout the world for modelling fish, a department of artistic labour that made Fochabers and its studio a household word among anglers in even the most distant parts. Mr Russell’s legacy was continued by his gifted daughter and her husband, and throughout the passing years there has been an output of fish models that has run into many hundreds. The model had to be an exact replica of the fish with every dimension being drawn to scale, the depth and length measured with the utmost exactitude and painted in its natural colours.

λ&nbspALGERNON NEWTON (BRITISH 1880-1968) HOUSE ON THE SURREY CANAL Oil on canvas Signed with monogram (lower left) 69 x 91.5cm (27 x 36 in.)Painted in 1950. Provenance: The Leicester Galleries, London Private Collection, Alan M. Allan From the Estate of Margaret Sparks (née Allan), sold by order of the ExecutorsExhibited: London, The Leicester Galleries, Paintings of London by Algernon Newton, April, 1951, no. 7 Sheffield, Sheffield City Art Galleries, Algernon Newton R.A. 1880-1968, July, 1980, lent by Alan M. Allan, travelling exhibition to Plymouth, City Art Gallery and Museum, September - October 1980 and London, Royal Academy of Arts, November - December 1980We are grateful to Sir Mark Jones and Nicholas Newton for their assistance in compiling the catalogue entry for this painting.  The gritty, urban landscape through the eyes of Algernon Newton becomes picturesque, serene, and captivating. Often referred to as the "Canaletto of the canals," Newton was celebrated for his ability to infuse urban scenes with a calm, contemplative atmosphere-a skill honed through his training at the Slade School of Fine Art and the London School of Art in Kensington. Newton recorded and interpreted on canvas the industrial and technological changes of his era, capturing the transformation of the urban landscape. His connection to the Royal Academy began early, exhibiting for the first time in 1903 while still a student. Over the years, his reputation grew, leading to his election as an Associate of the Royal Academy in 1936 and as a full member in 1943. In 1980, the Royal Academy hosted a retrospective exhibition of his work. In House on the Surrey Canal, Newton showcases his remarkable talent for capturing the quiet allure of industrial London. The painting is bathed in a soft light that invites the viewer to linger, guiding the eye across sunlit crates, the shimmering waters of the canal, and the townhouse that stands quietly yet enigmatically in the foreground. Newton's meticulous attention to light, shaped by his admiration for Canaletto, is particularly evident here. He frequently visited the National Gallery in London to study Canaletto's mastery of light in his large-scale Venetian landscapes. Newton adopted Canaletto's technique of tonal contrasts and the layering of thin glazes to create a flat, serene effect. In 1951 The Leicester Galleries hosted a one man exhibition of Algernon Newton's works and a review of the exhibition published by The Illustrated cited: 'London - without Londoners: Newton's paintings of her many aspects.' '"The Surrey Canal": the picturesque yet slightly sinister beauty of the London canals has provided Newton with many subjects' The Illustrated London News, April 14 1951, p. 586 Newton's original colour notes for this work still exist and are held in the Tate Archives. Newton discusses his colour choices, particularly for the sky: 'Deptford. Blue sky above brilliant blue. (Brilliant gold white clouds)... Distant pale green peep of sky, warm with gold clouds soft lit warmish grey shadows. Big mass curling over top L and distant range of curling gold clouds.' Algernon Newton, TGA 749/1/8, Tate Archives  While some artists, like Paul Nash, sought peace and tranquillity away from the grittiness of urban life after the First World War, Newton turned his attention to depicting London in new and imaginative ways. He was particularly drawn to the canal network within the urban landscape. Newton expressed a desire to connect with the lives of London's poorest residents by portraying their daily surroundings without the need to depict the figures themselves, focusing instead on the desolate yet poignant landscapes they inhabited. The present lot is an ambitious example from this canal series painted in 1950. The work was last seen in public in 1980 when it was exhibited at the Royal Academy and has been in private ownership ever since. Condition Report: Stretcher mark visible to the lower edge. There is a thin line of dark blue pigment running along the centre of the extreme lower edge which appears to be retouching but does not flare under UV light. There are scattered areas of craquelure, mostly to the sky but the surface is stable. Inspection under UV reveals no obvious evidence of restoration or repair. The photograph published in the printed catalogue shows an area of 'glare' running along the lower edge of the work, this is not a condition issue and a result of the photographer's flash on the glossy finish of the varnish. Overall the work is in good original condition. Condition Report Disclaimer

λ&nbspSIR JACOB EPSTEIN (BRITISH 1880-1959) RISEN CHRIST (HANDS ONLY) Bronze with a dark brown patina 43 x 39cm (16¾ x 15¼ in.) (including base) Conceived 1917-1919. Provenance: Sale, Sotheby's, London, 9 July 1969, lot 101 Agnew's Gallery, London From a Private Collection Literature: Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, relating to no. 97 The other version of this work is held in Walsall, Garman-Ryan Collection.The present lot was part of a study intended for a large scale sculpture measuring 218cm tall depicting the sick Bernard van Dieren during 1917. Artists Jacob Kramer and Cecil Gray, the musician posed for the unfinished sections when Epstein returned to the work in 1918/1919. Condition Report: The black base may benefit from a clean and there is evidence of surface scratches most notable around the base of the largest hand. There is a light overall layer of surface dirt that is most notable in the crevasses of the work. Overall in good original condition. Condition Report Disclaimer

'Proposed Type 5 House - Silver End Garden Village', elevation and plan, 'Drawing No. /2/23 15th November 1927, scale of Eight feet to an Inch', for Sir John Burnet & Partners Architects London, pencil and coloured pencil, by F McManus, Thomas Smith Tait's personal assistant, 36.5 x 46cm, framed 51.5 x 56.5cm Provenance: From the descendants of Thomas Smith Tait (1882-1954).Condition ReportMounted and framed. Tear to the centre of the edge on the base of the paper. Apperas to be pasted down.

An octagonal trayChinese export porcelainPolychrome decoration of daily Chinese sceneFish scale lip with sepia landscape cartouchesQianlong reign (1736-1795)(restoration and wear to enamels)28,5x36 cm

A George IV mahogany and ebony twin train bracket clock by L. Vick of Stroud - the architectural case with turned acorn and urn finial, twin gilt brass loose ring handles and arched, scale design grilles to the sides and gilt brass ball feet, the signed, Roman 7 ¾ inch dial in the original painted finish, fronting a twin train hour striking fusee movement with anchor escapement, with case and winding keys, 50.8 cm high.

A German coin scale, mid-18th century - by Joh. Pet. Aeckerberg, dated 1754, with steel beam and brass dished circular pans, with 14 square brass weights, (2 missing), a rectangular brass lidded compartment containing grain weights, in a fitted rectangular ebonised case, 17.8 x 9.2cm.

A large Regency period Flight, Barr & Worcester two handled pot pourri vase and cover – impressed factory mark, decorated in the Imari palette, the domed, pierced scale-decorated cover with floral finial, over an inner lid, the ovoid body with two gilt foliate handles and a foliate mount to the socle and square base, 38cm high.* Small chip to tip of leaf capping to one handle. Tiny flake to corner of base and another tiny flake to edge of the inner cover. A little minor gilt wear. Three tiny hairlines to one area inside the pierced main cover. No other faults.

Treen: a fine boxwood folding foot-measure - signed 'W. Harrison - Maker', the brass-mounted and hinged folding rule showing a 12-inch scale to the outside, the inside and edge with shoe size scale from 1 to 13 (children) and  1 to 14 (adults), standing on a foot-shaped base, the top section of the foot sliding to allow the foot length to be measured, of fine colour and condition, one end with ivory cushion pad (ivory registration 7T77TBRY).

Various freshwater fishing tackle to include: 1. a large Aquarex (Scotland) circular landing net, 24" diameter, 31" deep 2. a heavyweight wading stick with depth and salmon weight scale 3. a 39' Spey AFS Outbound fly line 4. a priest and a mosquito head-net

A pair of George III silver pistol handled forks - James Staniforth, probably Sheffield, early 19th century (maker's mark only), the steel three-pronged forks with filled silver shell, foliate and scale decorated handles, 19.5cm long.

An elegant Regency-style papier-mâché and gilt-brass tray-top table - early 20th century, the oval tray painted with gold foliate scrolls, anthemion and roses, within an overlapping scale border, the underside with painted mark 'C96', on a gilt-brass faux-bamboo stand with four swept supports united by an X-stretcher, 43 x 34 cm, 41.5 cm high. 

A large Chinese blue and white porcelain bowl – probably first half 19th century, the central circular reserve painted with cranes amidst pine trees and bamboo, within  a border of birds on fruiting branches, the rim with shaped floral reserves on a scale ground, 39cm diameter, large cracks and small chips to rim.

A vintage Gibson EBO / EB0 converted / EB3 bass guitar - c.1963/64, cherry red, serial no. 193590 (stamped to back of headstock), high-set mother-of-pearl crown, the neck 1¾in. at nut, 30.5in scale length, bridge replaced (original bridge with instrument), with hard case, Levy's Leathers strap and lead. * This bass was purchased by the current owner c.1975

Heller 1:400 Scale Bismarck Cuirasses model kit, boxed (poor) No.1036, 1:32 Scale The History Makers Teracruzer with Mace Missile, boxed No.8628 & Revell 1:32 scale Curtiss P-40E Flying Tiger, 1:72 Westland Sea King MK41 Helicopter, 1:48 scale Wessex HAS Mk.3 Helicopter, PT 212 torpedo boat, Mammoth No.6476 & Ankylosaurus Dinosaur No.6477, all boxed (8)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.

Desert 12" action figure vehicles & others, plus two boxes of smaller scale military vehicles (4 boxes)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.

Revell 1:72 scale American Civil War sets (x8), Imex 1:32 scale (x12), Italeri Confederate Cavalary & others including Union Coloured Infantry & American Revolution Militia etc. (x10) (1 box)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.

Large scale military vehicles & other military vehicles (6 boxes)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.

Revell 1:32 scale Westland Lysander Mk.I/III No.04710, Revell Power Aces Action model kit including Slasher & HO Figures of 1920-1930, plus Tamiya 1:32 scale Chieftain Tank Mk.5 & 1:35 WWII soldiers (6)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.

Nu-Bee (made in GDR) 1:25 scale Vostock 1 Spaceship No.209 & 1:100 scale helicopters & planes, boxed (11) The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.

Airfix Target Box 1:32 scale Medieval Foot Soldiers, sealed boxes (11)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.