FINE LONGINES 18K KEYLESS WIND HUNTER CASED POCKET WATCH, circa 1905, retailed by Nacib K. Djezvedjian, Constantinople, the tandem-signed silvered dial with waffle inner, black Roman numerals, blued steel hands, subsidiary seconds register, gilt-frosted jewelled mechanical top wind movement signed, with additional Turkish script, and numbered 2326783, calibre 18.90M, foliate engraved upper and lower cases, interior case signed, numbered and stamped with Swiss control mark for 18ct gold and 18K, cuvette signed with maker and retailer and 12 medals, 49mms (diam.), 69.4gmsProvenance: private collection CardiffAuctioneer's note: Nacib K. Djezvedijan was the authorized dealer and general distributor for Longines watches from the 1880s in the Ottoman Empire until the 1960s in Turkey. He was a well-known distributor for high end Swiss watches, including Vacheron & Constantin. He was based at Kapali Carsi Mahfazacilar (Muhafazicilar) Sok. No: 44-46 Eminonu/Istanbul at the Kiliccilar Gate of the Covered Bazaar.
We found 1319 price guide item(s) matching your search
There are 1319 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
1319 item(s)/page
Miscellaneous Sporting Medals A selection of miscellaneous sporting medals, mostly relating to the Royal Navy, including Royal Naval College Dartmouth Medallion, bronze (3), the reverses engraved ‘Lowry Trophy 1st 1946/2’; ‘1st Crash Whaler 1st 1946/2’; and ‘Lowry Cup 1947/2’; Royal Navy and Royal Marines Championships Medallion, white metal, the reverse engraved ‘800M’, in damaged case of issue; Royal Navy and Royal Marines Swimming Medallion, silvered, the reverse engraved ‘R.N. Water Polo Championships 1968 Senior Winning Team’; H.M.S. Warspite medallion, bronze, the reverse named ‘Arbuthnot Trophy November 1923 Sto. W. C. Birks.’, in case of issue; Portsmouth Command R.N.C.C. Medallion, gilt the reverse engraved ‘Club & Navy Tandem 30 Record 1956 R. Carter R. Beck 1.7.43”’; H.M.S. London Medallion, bronze (2); H.M.S. Ganges Medallion, silver; H.M.S. Decoy Medallion, bronze; W.R.N.S. Championships Medallion, gilt, the reverse engraved ‘1968 Team Relay Winning Team’; together with a foreign shooting medallion; and four football medallions, including a Suffolk County Football Association Schools Championship Medalet 1931-32, generally nearly very fine and better (lot) £60-£80
Wilhelmina Barns-Graham CBE, British 1912-2004 - White Circle Series, 2003; acrylic on Arches paper, signed and dated lower left 'W Barns-Graham 2003', 16 x 20.5 cm (ARR) Note: with label from the Barns-Graham Charity Trust Authentication signed from Rowan James, W.B-G Cat.No. 52/03/A Provenance: with Art First Contemporary Art, London (according to the label attached to the reverse of the frame); private collection Note: this mature work is a quintessential example of Barns-Graham’s colourful abstract and painterly flourishes that developed in her later life. White Circle Series was produced in the final years of her life, consisting of paintings and magnificent screenprints produced in tandem with Graal Press. A similar work from this series is exhibited in the Scottish National Gallery of Modern Art. Barns-Graham was an important figure in British Modernism, moving to St Ives in 1940 after studying at Edinburgh College of Arts and joining the group that included Ben Nicholson, Barbara Hepworth and Naum Gabo. Since her death in 2004, numerous solo exhibitions have been conducted posthumously. These include Wilhelmina Barns-Graham: From St Andrews to St Ives, hosted in 2016 which coincided with a major survey of Barns-Graham's work at Penlee House Gallery & Museum.
Designed by Alex Issigonis in 1959, a new concept in car design was born. With a monocoque shell, transversely mounted engine and front wheel drive, the new 'Mini', as it was commonly known, soon became popular across a broad spectrum of the population. The potential for competition use was soon seen by John Cooper and although Alex Issigonis was less keen, BMC were finally persuaded by John Cooper and the two worked together in culminating the birth of the Austin Mini Cooper and the Morris Mini Cooper in 1961. Victories in the 1964, 1965 and 1967 Monte Carlo Rallies set the Mini on the road to fame but probably the greatest publicity was gained from their (somewhat unfair) disqualification for lighting irregularities in the 1966 event after coming in 1st, 2nd and 3rd. A more powerful Mini Cooper, dubbed the 'S', was developed in tandem and released in 1963. Featuring a 1071cc engine and larger servo-assisted disc brakes, 4,030 Cooper S cars were produced and sold until the model was updated in August 1964. Cooper also produced two S models specifically for circuit racing in the under 1,000 cc and under 1,300 cc classes respectively, rated at 970cc and a 1,275cc. The smaller-engine model was not well received, and only 963 had been built when the model was discontinued in 1965. The 1,275 cc Cooper S models continued in production until 1971.Originally supplied to Portugal, this delightful left hand drive Mini Cooper has been subject to a major restoration including upgrades to Cooper S specification. Imported to the UK in 2019, it has been on static display as part of a private collection but has recently been subject to some recommissioning and so is ready to be enjoyed by its new custodian. Supplied with Portuguese registration documents but it comes with a Nova certification confirming UK taxes paid. Consigned by John Dutton. UK TAXES PAIDLEFT HAND DRIVERECENT RECOMMISSIONING POST STORAGE
Designed by Alex Issigonis in 1959, a new concept in car design was born. With a monocoque shell, transversely mounted engine and front wheel drive, the new 'Mini', as it was commonly known, soon became popular across a broad spectrum of the population. The potential for competition use was soon seen by John Cooper and although Alex Issigonis was less keen, BMC were finally persuaded by John Cooper and the two worked together in culminating the birth of the Austin Mini Cooper and the Morris Mini Cooper in 1961. Victories in the 1964, 1965 and 1967 Monte Carlo Rallies set the Mini on the road to fame but probably the greatest publicity was gained from their (somewhat unfair) disqualification for lighting irregularities in the 1966 event after coming in 1st, 2nd and 3rd. A more powerful Mini Cooper, dubbed the 'S', was developed in tandem and released in 1963. Featuring a 1071cc engine and larger servo-assisted disc brakes, 4,030 Cooper S cars were produced and sold until the model was updated in August 1964. Cooper also produced two S models specifically for circuit racing in the under 1,000 cc and under 1,300 cc classes respectively, rated at 970cc and a 1,275cc. The smaller-engine model was not well received, and only 963 had been built when the model was discontinued in 1965. The 1,275 cc Cooper S models continued in production until 1971.Delivered new to sunny Florida in 1966 this beautiful Island Blue with Old English white roof Mk. I 1275cc Mini Cooper S was repatriated into the United Kingdom in 2017. On its arrival the car was then subject to a no expense spared nut and bolt rebuild over a two year period of which much is catalogued and at which time it was converted to right hand drive, upon the restoration the odometer was zero’ d, 44 miles of running in later and the speedo on this example in July stopped working thus will need to be addressed by the new owner but only circa 20 miles have been covered since. The end result of the restoration speaks for itself, presented with a huge file of expenditure to back up the no nonsense approach to the restoration. Other than a few subtle upgrades in spotlights, Minilight wheels and period wooden steering wheel this car remains original. Offered with the Heritage Certificate and an MoT test certificate until March 2025, this absolutely stunning example is now ready for a new adventure and this Mini Cooper S is ready to be enjoyed by any budding Italian Job afficionado! Consigned by Mathew PriddyFor more information on this lot please email mrp@historics.co.uk FULLY RESTORED 1275 COOPER S WITH SUBTLE UPGRADESNO EXPENSE SPARED COLLECTABLE EXAMPLE FROM PROVATE COLLECTION
Designed by Alex Issigonis in 1959, a new concept in car design was born. With a monocoque shell, transversely mounted engine and front wheel drive, the new 'Mini', soon became popular across a broad spectrum of the population. The potential for competition use was soon seen by John Cooper; BMC were finally persuaded by John Cooper and the two worked together in culminating the birth of the Austin Mini Cooper and the Morris Mini Cooper in 1961. Victories in the 1964, 1965 and 1967 Monte-Carlo Rallies set the Mini on the road to fame but probably the greatest publicity was gained from their, somewhat unfair, disqualification for lighting irregularities in the 1966 event after coming in 1st, 2nd and 3rd. A more powerful Mini Cooper, dubbed the 'S', was developed in tandem and released in 1963.This Morris Mini Cooper with a build date in June 1967 was dispatched to Kennings Ltd, Sheffield and registered in July 1967. In 1998 it went to Anchor Autos Bristol where it received a full body and mechanical restoration to ‘S’ specification with twin tanks and heated screens front and rear. This included the engine being bored to 1340cc and fitted with a ‘fast road’ camshaft and the gearbox rebuilt with straight cut gears. The suspension and brakes were rebuilt using Cooper S parts. The front seats were replaced with rally bucket seats and rally instruments fitted to the dashboard. We are told that the odometer was zero’d at the time of the restoration, and it has only travelled 9,000 miles since. It was purchased by the vendors husband in November 2005 when the car had covered about 7,000 miles. There is a large history file including old MoTs, invoices for works and a report which details the restoration of 1998 together with a detailed handwritten owner’s record of subsequent service works, MoTs and petrol purchases. Finished in Island Blue with Old English White roof with black rally interior, it is supplied with a V5 registration document, an original Mini Drivers Handbook and a Heritage Certificate. Consigned by Dominic Lake RESTORED AND UPRATED IN 1998ONLY 9000 MILES SINCE RESTORATION
Cyma for Collingwood & Company - A diamond set cocktail watch on a later 9ct gold bracelet, circa 1960, tandem signed circular cream-coloured dial with black Arabic numerals and blued hands, 17 jewel mechanical crown wind movement, case, 23mm diameter, bezel with 16 round brilliant cut diamonds, ring lugs at 12H and 6H each set with 6 round brilliant cut diamonds totalling approximately 2.00ct, verso hinged at 9H with monogram, interior stamped ALL PLATINUM BRITISH MADE, to a 9ct white gold double cord style bracelet terminating in a three stage ladder clasp with fold over safety clip, overall length 190mm, 18.8g gross, presented in the original fitted case
Omega - A steel and gold 'Seamaster Professional Diver 300M' wristwatch, circa 1994, model 2362.80.00, circular 'blue wave' dial with luminous skeleton hands, luminous markers, centre sweep, date window at 3H and bar minute track, tandem signed 21 jewel mechanical automatic chronometer rated ETA movement number 2892A2, calibre V8X48, Ω1109 with gold coloured liveried screw down crown, case, 35mm diameter, with gold coloured unidirectional rotating bezel and helium escape value at 10 o'clock, verso screw down with wave decoration around a central circular signed cartouche with hippocampus logo, 7 o'clock lug numbered 49706706, to a 2 colour link bracelet with ends stamped 824 and signed and liveried fold over clasp with wetsuit extension numbered 1502/824 Crystal - Complete. One or two very fine surface scratches, as to be expected and commensurate with age and use.Dial - In good condition. Some very minor deterioration to the lume, visible under 10x magnificationMovement - Currently in working order, though not tested for timekeeping or endurance.Case - In good condition. Some minor surface scuffs, dents and dings as to be expected and commensurate with age and use. Bezel rotates satisfactorily. Threads to both crowns operational. Clasp operates satisfactorily. The bracelet has 5 full links together with a half and quarter adjusting link to each side of the case. Wetsuit extension deploys and folds away satisfactorily. Internal diameter apx 170mm.Presented without box or papers
Chronographe Suisse for Ormaeresco - A steel chronograph wristwatch, circa 1950, tandem signed circular black dial with cream coloured Arabic numerals, hands, centre chronograph sweep and subsidiary registers for running seconds at 9H and minutes at 3H, mechanical crown wind movement with start/stop and reset pushers above and below the crown, case, 37mm diameter, bezel with two outer timing tracks, verso screw down, numbered 25751, to a steel 'Bonklip' link bracelet, presented with an original guarantee document dated 5/6/1946
Gorgeous antique limited edition bound book with red leather and gilt. The Sporting Repository Containing Horse-Racing, Hunting, Coursing, Shooting, Archery, Trotting and Tandem Matches, Pugilism, and Anecdotes on Sporting Subjects is an anthological compilation taken from the 19th century sporting magazine with multiple color lithographs by British painter and engraver Henry Thomas Alken. Published by Paul Kegan, London, 1904. Bookplate inside cover page: Elizabeth Ireland. Artist: Henry Thomas Alken (British 1785-1851)Issued: 1904Dimensions: 7.50"L x 2"W x 10.50"HEdition Number: Limited editionCountry of Origin: EnglandCondition: Very good.
Sammlung Motorräder und Fahrrädermeist 1980-2000er Jahre, Metall und Kunststoff, 37 x Motoräder der Maßstäbe ca. 1:16 und kleiner, verschiedenster Hersteller wie Polistil, Tuiloy, MaiSto, Franklin Mint, uvm. drunter BMW von 1957 mit Beiwagen, BMW R75 m. Beiwagen, Harley Davidson m. Beiwagen; Easy Rider Chopper, weitere BMW, Honda, Kawasaki, Ducati etc. Dazu 9 x Fahrradmodelle mit Rennrad, BMX Rad, Hochrad, Tandem usw. Vitrinenobjekte, Fehlstellen möglich.
BORDEWIJK, F. Knorrende Beesten. Utr., De Gemeenschap, (1933). Sm-8°. 51 pp. Ohcl., front cover photo montage design by K. Strooband. (Cloth of spine a bit foxed, covers trifle soiled). First edition. -- Id. Blokken. (Den Haag, Bzztôh, 1980). 4°, Ocl. w. dust-j. Typography and cold. illustr. by F. de Jong, w. his signature. Limited to 350 numb. copies. -- E. MANDEAU (=F. Bordewijk). Verbrande erven. (Utr.,), De Bezige Bij, 1944. Owrps. (Quousque Tandem XV). De Jong 532. Limited to 500 numb. copies. -- And 1 o. by the same. (4).
![Art. Konig, Eberhard [ed.] - The Great Painters of the Italian Renaissance. Tandem Verlag GmbH, 2008. 1st English edition. Tw](https://cdn.globalauctionplatform.com/655ace4c-02a3-4441-a936-b20300f87f66/820cc6ee-f4dc-4390-aad7-b21200f6bb5f/468x382.jpg)
Metal finish with embossed design and lettering. First fob front side: Eimco with a bulldozer; reverse side: blank. Second fob front side: Eimco Rocker Shovel; reverse side: a manufacture impressed mark. Third fob front: Galion embossed with three industrial vehicles; reverse side: Allied Equipment Corp. - Carnegie, Penn. Fourth fob front: Galion Motor Graders - Galion, Ohio; reverse side: Galion Tandem Rollers - Galion, Ohio. Fifth fob front side: Lull embossed; reverse side: rippled texture finish. Approximate dimensions for the largest fob: 1.25"L x 1.75"H. Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.
THREE CORGI CLASSICS DIECAST MODEL COMMERCIAL VEHICLES comprising a No.CC14011, Volvo FH Curtainside 'William C. Hockin Transport Ltd'; No.CC12514, Atkinson Borderer Trailer & Canvas Load 'William Nuttall'; and No.CC15305, Scania 110 Tandem Axle Tilt Trailer 'B.R.S.', each boxed (unchecked for self-fit and detail parts and enclosures).
THREE CORGI CLASSICS DIECAST MODEL COMMERCIAL VEHICLES comprising a No.CC13911, Foden Alpha Flatbed Trailer & Peat Load 'R.J. & I. Monkhouse Ltd'; No.CC15502, Volvo F10 Tautliner Curtainside 'Prestons of Potto'; and No.CC12515, Atkinson Borderer Tandem Axle Trailer and Canvas Load 'Adam Jones', each boxed (unchecked for self-fit and detail parts and enclosures).
Joker. Jennie Jewitt-Harris. Oil on canvas. Signed to the front, framed, 40cm x 30cm. Jennie Jewitt-Harris gained her PhD in Fine Art from Brighton University/UCA and her Medical degree at Kings College, London. Jennie had two artworks selected for the 250th Royal Academy Summer Exhibition 2018, completed a residency at Watts Artists Village, and her works are in private collections nationwide. Her solo exhibitions include In Residence at Watts Contemporary Gallery, Fideles Oculi at C&C Gallery, London; Time and Vision at One Paved Court, London and Anything But the Eyes at James Hockey Gallery, Farnham (this exhibition moves to The Mirror Gallery at South Hill Park in February 2021). She has exhibited in many group exhibitions, including at the London Art Fair and Affordable Art Fair, at the Cultural Olympiad in 2012, and as a duo with Aimee Jewitt-Harris at Blah Blah and Tandem at the Poly Gallery Falmouth. Jennie uses her knowledge of psychology and medicine to inform her practice which considers our relationship with time, connection with others and what makes us who we are, using a variety of media mainly collage and painting. She has appeared with her artworks on Great British Railway Journeys and has permanent photographic works on display at Guys Hospital and The Royal Free Hospital. Her artworks have been published by the British Medical Journal, The Psychologist and The Ophthalmologist magazines. Please note that Ewbank's are charging no buyers premium for any lots sold in this auction.
Stephen O'Driscoll Irish (1825-1895) A group of 8 original Silhouette Conversation Pieces, as follows: * "Cork Butter Trade, made his Pile," approx. 29cms x 25cms; * "Random Sketches No. 1 Did you See the Shah," approx. 29cms x 34cms; * "The Man Wot Weighted the Cat," approx. 31cms x 22cms (12" x 9 12"); * "Harry Badger," (signed & dated 1840), approx. 31cms x 22cms; * "Cork Beggars Opera, Nix my dolly pals fake away," (Figures identified) approx. 31cms x 49cms (12" x 19"); * "The Council of War, a Volcano Row (Steamship Co.) approx. 29cms x 50cms; * "The Two Paddy's, Blowing up the Mansion House," (J.D. Mc Mahons Wine Vaults) approx. 31cms x 50cms; * "Queenstown up to date (The Flying Tandem)" approx. 31cms x 47cms; & one other (not inscribed) showing "Man on horseback and man in carriage (probably Lord Colthurst) with Blarney Castle in the distance, approx. 31cms x 46cms. As a collection, w.a.f. (9)
MARATHON VEHICLE built by Van den Heuvel to suit single/pair/tandem 15-16.2hh. The undercarriage is painted red with black lines to a blue body with black leatherette seat. Features wide back step and disc brakes. Maker's name features prominently on rubber tyred metal wheel hubs. Pole and shafts included.
The Ivan Kessell Collectionc.1925 Triumph 225cc JuniorRegistration no. NN 9758Frame no. 606119Engine no. 11565The first Triumph motorcycle of 1902 used a Belgian Minerva engine but within a few years the Coventry firm - originally a bicycle manufacturer founded by German immigrants Siegfried Bettman and Maurice Schulte - was building its own power units. The first of these - a 298cc single-cylinder sidevalve - arrived in 1904. This first engine was not without its weaknesses, and the curious 'tandem down-tube' frame in which it was installed often broke, but these shortcomings were soon sorted and within a couple of years 'Triumph' was a byword for reliability. Introduced in 1914 together with famous 4hp Model H, one of Triumph's new models was the Junior, a 225cc two-stroke single. Weighing only 129lb, the Junior featured chain-cum-belt transmission and a two-speed gearbox - the latter an unusual feature among contemporary lightweights - but there was no clutch and the machine was push-started. Known as the 'Baby' Triumph by the motorcycling public, the Junior resumed production after The Great War and was last catalogued in 1923.An older restoration, this Triumph Junior was purchased by Ivan Kessell in 1978. The machine has been on long-term museum display and will require recommissioning, or possibly more extensive restoration, before further use and thus is sold strictly as viewed. Accompanying paperwork consists of old/current V5C documents and an old-style green logbook (issued 1967).Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.REQUEST A TRANSPORT QUOTEPlease click the link to request a transport quote from our recommended transport company, Moving Motorcycles.To request a UK or European shipping quote - Moving MotorcyclesTo request an International shipping quote - ShippioThis Lot will be auctioned on Sunday 13 October starting at 11am GMT.For further information on this lot please visit Bonhams.com
Registration No: YOR 40 Chassis No: 70512 MOT: ExemptOn offer from the estate of the late David NevePurchased from H&H by the later owner fr, having been subject to a previous full restorationA rewarding recommissioning projectIntroduced in 1953 as the 'fend', after its co-designer Fritz Fend, the KR175 Kabinenroller (scooter with cabin) was soon marketed under the more famous Messerschmitt name. The narrow body and corresponding low frontal area was achieved with tandem seating and handlebar controls which also allowed the body to taper like an aircraft fuselage. Powered by a two-stroke 148cc Fichtel & Sachs engine that produced a modest 9bhp, the fuel consumption was reported to be 87mpg with a top speed of 55mph. In 1955, an improved KR200 was introduced with a larger 191cc engine, revised bodywork, an improved turning circle and floor-mounted accelerator and clutch. The tandem seating allowed centralised weight distribution irrespective of occupants, avoiding the flawed logic of the Isetta's lop-sided engine arrangement, and providing the little tricycle with handling characteristics that outclassed its contemporaries. Four forward and four reverse gears made for rapid progress in either direction with a top speed of 62mph. Available in the UK from 1955 onwards, production ceased in 1964 after some 30,000 KR200s had been built.According to the Dating Certificate on file, chassis 70512 was originally supplied by Cabin Scooters (Assemblies) Ltd on the 19th March 1959. It is understood that the car was well known in club circles, however, it was then laid up for approximately forty years before being acquired by the previous owner and treated to a comprehensive restoration using only original and club-supplied parts, during which the engine and transmission were overhauled by a club specialist. Re-registered after restoration in 2018 and used sparingly by the previous owner for only one year after, the tandem-seater was then sold by H&H at our March 2019 Duxford sale.The late owner and father of the vendor, Mr David Neve, was the gentleman who would acquire the Messerschmitt from the auction, and it would become the jewel of his collection. Mr Neve’s son recalls that his father was exceptionally proud of his microcars and would often be seen around Norfolk at different car shows. Mr Neve’s declining health meant that his collection had not been used for some years, so the KR200 will require some level of mechanical attention. ‘YOR 40’ is to be supplied with a modest history file consisting of the V5C and some Dating Certificate material from the club. H&H is honoured to have been entrusted to offer the car collection all at No Reserve at our Duxford Imperial War Museum sale. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
Diecast Masters - 2 x boxed 1:50 scale trucks, a Western Star 4900 SB Sleeper Tandem Tractor # 71063 and an International HX620 Tridem Tractor # 71009. The models appear Mint in Very Good boxes, the International is a little dusty from being on display. (This does not constitute a guarantee) [ba-2]
Diecast Masters - 2 x boxed 1:50 scale trucks, a Kenworth T880 SBFA Sleeper Tridem Tractor with 40' Sea Container # 71060 and an International HX520 Tandem Tractor with XL120 Low Profile HDG Trailer # 71016. The models appear Mint in Very Good boxes. (This does not constitute a guarantee) [ba-2]
Diecast Masters - 2 x boxed 1:50 scale trucks, a Kenworth T880 SBFA Daycab Tandem Tractor with XL120 Low Profile HDG Trailer # 71061 and an International HX520 Tandem Tractor with XL120 Low Profile HDG Trailer # 71016. The models appear Mint in Very Good boxes, there is no outer sleeve for the International box. (This does not constitute a guarantee) [ba-2]
Curtius Rufus,Q.: De rebus Alexandri Magni recte tandem captui juventutis accommodatus, oder: Deutliche und nach dem Begriff der Jugend endlich recht eingerichtete Erklärung des Q. Curtii,... verb. ...durch E. Sincerum. Augsburg, Lotter Erben 1757. Mit gest. Front. u. 1 gefalt. Kupferstichkarte. 35 Bl., 865 S., 78 Bl. Hldr. d. Zt. mit Rsch. u. Rverg. (Berieb., kl. Bibl.-Rsch.). Schweiger I, 324. Seltene Augsburger Lotter-Ausgabe des Lebens Alexanders des Grossen. - Schnitt u. einige Blattränder etw. tintenfleckig. Entferntes Exlibris. - Provenienz: Adelsbibliothek.
Original vintage sport poster for a horse racing event. This is a stock poster where details of the event would be added, it might have been also displayed blank as a decoration. This poster has revenue stamps from Tunis. Harness racing is a type of racing where horses race around a track while pulling a two-wheeled cart (sulky / spider) and a driver behind them. In this sport, Standardbreds are used. These horses are separated into two categories, trotters and pacers. Pacers move the legs on each side of their body in tandem, while trotters move their diagonal legs together. The latter are typically faster than the former due to the gaits used. Occasionally a horse will break their gait into an actual canter or gallop. This could cause the loss of a race or even a disqualification. Notable races include the Breeder's Crown series. Good condition, tears, light staining, pinholes. Country of issue: Tunis, designer: Unknown, size (cm): 51x62.5, year of printing: 1936
Six boxed Corgi 1/50 diecast models to include 3 x Kings of the Road (2 x CC10701 Scammell Highwayman Tanker British Oxygen Company and CC12602 Scammell Crusader Tilt Trailer CRTS), 2 x Hauliers of Renown CC15305 Scania 110 Tandem Axle Tilt Trailer BRS and Heritage 55303 Diamond T980 Transport Exceptional Bourgey Montreuil, diecast ex, boxes vg
Neun verschiedene Silberteile, u.a. Besamin-Fisch und Champagnerbesen Englische Lorgnette, klappbar mit Haltestil, Champagnerbesen, Besamin- bzw. Riech-Fisch, Miniatur-Mandoline, Miniatur-Floß mit Segel, Miniatur-Tandem-Fahrrad. Alles Feingehalt 800. Silberne Rose, Feingehalt 880. Miniatur-Grammophon und englische Pillendose als Bonbon, Feingehalt 925. Ges.-Gew. ca. 114 g. Dazu: Asiatische Silberschale, reich verziert, Gew. ca. 45 g. (61029)
* PETER KNOX (BRITISH b. 1942), DURHAM oil on canvas, signed and titledframedimage size 29cm x 39cm, overall size 43cm x 53cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* PETER KNOX (BRITISH b. 1942), THE RACES oil on board, signed and titledframedimage size 20cm x 15cm, overall size 35cm x 29cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* PETER KNOX (BRITISH b. 1942), FOUR SKETCHES four pencil sketches on paper, each signedeach mounted, framed and under glassthe largest image size 20cm x 28cm, overall size 50cm 57cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* PETER KNOX (BRITISH b. 1942), COAL DELIVERY oil on board, signedframedimage size 20cm x 28cm, overall size 37cm x 46cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* PETER KNOX (BRITISH b. 1942), CHARIOT oil on board, signed, titled versoframedimage size 10cm x 28cm, overall size 24cm x 41cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* PETER KNOX (BRITISH b. 1942), SHIPYARDS oil on board, signedframedimage size 37cm x 44cm, overall size 44cm x 50cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* PETER KNOX (BRITISH b. 1942), FOUNDRY oil on board, signedframedimage size 80cm x 41cm, overall size 97cm x 58cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
Loading...-
1319 item(s)/page