* 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.
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* 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.
* PETER KNOX (BRITISH b. 1942), MANY FACES oil on board, signedunframedoverall size 36cm x 36cm 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.
Agent Crush (2008) Yellow Taxi Cab Model Miniature. Screen used 1/18th scale model miniature Yellow Taxi Cab, seen in several scenes throughout the film, including street scenes during high speed pursuit. (both will connect to each other). 42cm x 20cm x 16cm. Agent Crush is a 2008 (released some years later) Puppet and Model based feature film from Director and Model maker Sean Robertson. The Supermarionation Super-Spy spoof film was an homage to Derek Meddings and various features made by Gerry Anderson before it, including Thunderbirds and UFO. In tandem with the films impressive Models and Puppets scratch built specifically for production by Robinson and his team, the crew brought together various notable figures from the film industry including Mike Trim (Thunderbirds, UFO, Joe 90), Chris Clarke (Rogue One, Star Wars Episode VII) and Robbie Scott (Aliens, Judge Dredd). Voice Talents include Roger Moore, Brian Blessed, Neve Cambell, Ioan Gruffudd, Danny Glover and Rula Lenska. Provenance: From the personal collection of Director and Model Maker Sean Robinson. Condition Report: Condition; Some general production wear throughout.
Henry Alken et al: 'The Sporting Repository, containing Horse-Racing, Hunting, Coursing, Shooting, Archery, Trotting and Tandem Matches, Cocking, Pedestrianism, Pugilism; Anecdotes on Sporting Subjects, Interspersed with Essays, Tales, etc.', London, Kegan Paul Trench Trubner and Co., 1904, limited edition (500), 22 colour plates as called for, frontis loose, original cloth gilt (worn), all edges gilt; together with 6 other sporting titles, including E.D. Cuming: 'British Sport Past and Present', 1909, 1st edition, 31 tipped in colour plates by G. Denholm Armour as called for, 4to, original cloth, Martindale 'Sport Indeed', [1901], orig. pictorial cloth gilt, Robin Chute 'Shooting Sitting', 2002, limited edition, number 419 of 500 signed by the author, large 4to, orig. cloth gilt, etc (7)
Henry Alken & others: 'The Sporting Repository containing Horse Racing, Hunting, Coursing, Shooting, Archery, Trotting and Tandem Matches, Cocking, Pedestrianism, Pugilism, Anecdotes on Sporting Subjects', London, Kegan Paul, 1904, limited edition, number 39 of 50 hand made paper copies only, 2 volumes bound as 1, 22 colour plates after Henry Alken, Barenger, Dighton, Benjamin Marshall. Faint tide mark to top third of verso blank on FEP and first blank and lesser so to half title and top half of rear free end paper. 4to, half dark blue morocco, spine with raised bands and gilt decorated with sporting motifs in compartments within gilt ruled borders, top edge gilt, others uncut, a fine binding. Armorial bookplate of R.N.H. Moore Stevens to front paste down. Sporting Repository was originally published as a magazine in 1822 and was important for its fine colour plates
12 First Gear American Trucks. 1959 International RF-200 Tandem Axle Tractor with Lowboy Trailer, EJ Wallace. 1935 Ford Sedan Delivery, Dodge Power Wagon Breakdown Truck and a 1966 Mack R Fuel Tanker, all TEXACO. 1953 Ford C-600 Straight Truck, Roadway Express Inc. Dodge Power Wagon Express Truck, Colwell. 1952 GMC Bottler's Truck, Dr. Pepper. 1957 International R-190 Fuel Tanker, Champlin Deluxe. 1951 Ford F-6 Dry Goods Van, Eastwood's. 1951 Ford F-6 Bottler's Truck, Yoo-Hoo. 1951 Ford F-6 Fuel Tanker, Hudson Oil Company. Plus a 1937 Chevrolet Tow truck, Chevrolet St. Louis. All boxed, minor wear. Contents VGC-Mint. £80-120
12 First Gear American Trucks. 1959 International RF-200 Tandem Axle Tractor with Lowboy Trailer, International Harvester. 2x 1951 Ford F-6, Fuel Tanker, Phillips Petroleum and a Bottler's Truck, Double Cola. 3x 1957 International R-190- 2x Dry Goods Van, Hot Wheels and Bardahl, plus a Fuel Tanker, Champlin Deluxe. Mack R Model Tow Truck, WH Malcolm. 1955 Diamond T Bottler's Truck, Dr. Pepper. 1949 Chevrolet Panel Truck, Kazim Temple. International KB-8 Bottler's Truck, Dr. Pepper. Mack Model R-600 Mixer, Bulldog Concrete. Plus a 1952 GMC Dry Goods Van, Mc.Lean. All boxed, some wear to a few. Contents VGC-Mint. £80-120
Sylvia Cook and John Fairfax signed Ten Shilling Note includes accompanying TLS dated 3RD June 1972. Sylvia Cook is a British ocean rower and adventurer who, on 22 April 1972, became the first person to row the Pacific Ocean, in tandem with John Fairfax. [1] With this accomplishment she became the first woman to row any ocean. [2] The journey took 363 days at sea from San Francisco to Australia. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
A Hermes Tandem Ladies Stainless Steel Wristwatch Model: Tandem TA1.210 Serial: 1527673 Year: 2010s Case Material: Stainless Steel Case diameter: 20mm Bezel: N/A Dial: Slate Gray Numerals: Abstract Movement: Quartz Calibre: 976.001 Strap: Stainless Steel Buckle: Butterfly Deployant Box: No Papers: No Please request or check the condition report.The watch is not presently running, no long-term tests have been performed and accuracy cannot be guaranteed, a full service is advised on all watches and pocket watches once purchased. Surface scratches & wear consistent with age The online condition report may not mention mechanical replacements or imperfections to the movement, case, dial, pendulum, separate base(s) or dome.Watches with water-resistant cases may have been opened to examine movements, but no warranties are given regarding their water resistance. It is also important to note that we cannot guarantee the authenticity or originality of individual components, such as wheels, hands, crowns, crystals, screws, bracelets, and wrist bands, since subsequent repairs and restoration may have changed the original components. Also, we cannot guarantee the authenticity or originality of any engraving or re-engraving on watch cases, case backs, bracelets, straps or internal movements
Breitling - A steel 'SuperOcean Steelfish X-Plus' wristwatch, circa 2006, model number A17390, serial number 919261, circular cream-coloured dial with quatre Arabic numerals, silver coloured hands, centre sweep with red square accent, date window at 3H and inner Arabic 24 hour ring, tandem signed mechanical automatic chronometer rated ETA movement number 919261 calibre 2824-2 DM05/B2, with helium escape valve at 9H, case, 44mm diameter, unidirectional rotating bezel with Arabic numerals and markers between the four rider tabs, to a steel 'Professional Mark 1' bracelet with fold over clasp, safety catch and wetsuit extension, presented in the original case with outer card box, swing tag, instruction booklet, chronometer certificate, distributor list and guarantee booklet dated 21/5/2006
Corum - An 18ct gold wristwatch, circa 1960, circular black dial with gold coloured batons, hands and centre sweep, tandem signed 23 jewel mechanical automatic ETA movement number 30276 calibre 2451, case, 34mm diameter, interior with London import and Swiss marks for 18ct gold, to a black strap with pin buckle
Davosa, Genève - A steel 'Classic Auto' wristwatch, circa 2017, model 161.456.32, serial number 0434 931, circular textured white dial with copper coloured batons, hands, centre sweep and date window at 3H, tandem signed 26 jewel mechanical automatic Sellita movement, calibre SW200-1, case, 40mm diameter, verso with exhibition back, to a brown strap with pin buckle, presented in the original case with outer card box, swing tag, instruction and guarantee booklets dated 15/5/2017
Longines - A steel 'Master Collection' wristwatch, circa 2018, model number L2.628.4, serial number 46580163, circular white textured dial with black Arabic numerals and hands, centre sweep and date window at 6H, tandem signed 21 jewel mechanical automatic ETA movement calibre A31L01 V8XU25 L888.2, case, 38mm diameter, verso with exhibition back, to a brown stitched strap terminating in a signed and numbered deployant clasp, presented in the original case with outer card box, instruction booklet, warranty card and original receipt dated 30/4/2018
Tudor - A two tone 'Prince Oysterdate' wristwatch, circa 1995, model number 72033, serial number B609187, circular champagne linen dial with gold coloured batons, hands, centre sweep and date window under a Cyclops at 3H, tandem signed 25 jewel mechanical automatic 'Auto Prince' ETA movement calibre 2824-2 IIB30 with liveried screw down crown, case, 32mm diameter, gold coloured fluted bezel, verso screw down, interior signed and numbered, to a steel and gold coloured 'Jubilee' style link bracelet with fold over clasp numbered S9 (for September 1994), the end links numbered 601 Crystal - Complete. Some very minor dust scratches visible under reflected light under magnification.Dial - In good condition with no obvious sign of damage. Some very minor deterioration to the batons and hands, viewable under magnification.Movement - In working order, but not tested for timekeeping or endurance. Crown screws, unscrews, engages and disengages satisfactorily and the hands and date move freely.Case - Generally in good condition, with some minor surface scratches and nicks as to be expected and commensurate with age, wear and use
Corgi - A pair of boxed limited edition 1:50 scale diecast vehicles to include #CC11802 Leyland DAF 85 Tractor, Tandem Axle Jeep Dolly, Bogie & Concrete Beam Load and #29105 Guy Invincible Platform Lorry with Fruit Box Load & Sharp Clock. Both items appear to be in excellent condition with certificate and wing mirrors present. Boxes appear excellent; minor storage wear. (This does not constitute a guarantee) RG
A 9ct gold brooch and medallion the first; Royal Engineers Regimental 9ct gold and enamel brooch, stamped with Birmingham hallmarks, with safety chain, the second: a university cycling society medallion, inscribed '30 miles Tandem / T.T. / Fastest / F.J. Churchill / Catford C.C. / 1H. 6M. 46S. / 1935', stamped with Birmingham hallmarks, suspended on a fine fancy-link chain, stamped "9k" to suspension loop (2) total approx. diameter 2.5cm, total approx. chain length 51.5cm, total approx. weight (excl. chain) 15.2gCondition:
Corgi - Heavy Haulage - 3 x boxed limited edition 1:50 scale Corgi Heavy Haulage die-cast model trucks - Lot includes a #CC11802 'G.C.S Johnson Ltd' Leyland DAF 85 Tractor, Tandem Axle Jeep Dolly, Bogie and Concrete Beam Load. A #CC12301 'United Heavy Transport' Scammell Contractor. A #17501 'Siddle Cook' Scammell Contractor. Comes with limited edition certificates and wing mirror accessories. Boxes appear in very good condition with only minor storage wear. Die-cast models appear in mint condition. (This does not constitute a guarantee) (M)
Robert Cottingham (American, b. 1935). Group of two drypoint relief prints from the "Component" series published by Tandem Press, 2007. All pencil signed and dated along the lower right; from an edition of 30. Including "Component V," "Component XXIV," and "Component XXVIII."(Each) sight; height: 7 1/4 in x width: 5 1/4 in. Framed; height: 15 3/4 in x width: 13 1/4 in x depth: 2 in.Condition: The colors are bold and bright. No visible tears, creases, losses, or restorations. Slight undulation to the sheets. All are housed under a non-acidic mat. All framed under plexiglass. Light wear to the frames. Not inspected out of frame.
Maud Earl (British, 1863-1943)'The Black Watch' - The famous Schipperke Ch. Fandango signed in pencil 'Maud Earl' (lower left), titled (lower right)photogravureimage 24.5 x 32.5cm (9 5/8 x 12 13/16in)publised in 1903mounted but unframedFootnotes:Ch. Fandango, was bred and owned by Dr Freeman who wrote the first book on the breed, won nine CCs with four off one judge, two off two judges and one off another. Half brother to Ch. Yaap, both sired by El Dorado.The present work is illustration number 21 from 'Terriers and Toys' a collection of twenty-five photogravures of the finest quality, in a portfolio, limited to five hundred copies, after original paintings by Maud Earl, and published in 1903 by The Berlin Photographic Company. It was exhibited in tandem with Earl's 'Terriers and Toys' show at Graves's Galleries in London in 1903. The portfolio was seventy guineas and was sold out by the following year according to the records of The Berlin Photographic Company.For further information on this lot please visit Bonhams.com
![[MOULIN, Peter du (1601-84, attributed)]. Tragicum theatrum actorum, Amsterdam, 1649, small 8vo, 8 engraved portraits, foldin](https://cdn.globalauctionplatform.com/aacd4915-06c6-4a34-9915-b1a2013be072/23589810-3d88-41a5-9217-b1a2013dc13d/468x382.jpg)
[MOULIN, Peter du (1601-84, attributed)]. Tragicum theatrum actorum, Amsterdam, 1649, small 8vo, 8 engraved portraits, folding plate of the execution of Charles I (lacks all before title [i.e. blanks]), contemporary calf. FIRST EDITION.[MOULIN, Peter du (1601-84, attributed)]. Tragicum theatrum actorum, & casuum tragicorum Londini publice celebratorium, quibus Hiberniæ proregi, Episcopo Cantuariensi, ac tandem Regi ipsi, aliisque vita adempta, & ad Anglicanam metamorphosin via est aperta. Amsterdam: Apud Jodocum Jansonium, 1649. Small 8vo (139 x 90mm). Woodcut ornament on the title, 8 engraved portraits, folding plate of the execution of Charles I with the Banqueting House in the background, 4-pages of errata inserted between pp.84 and 85 (lacks all before title [i.e. blank or blanks], variable but mostly light browning throughout, some light spotting mainly at margins). Contemporary mottled calf gilt (neatly rebacked, rubbed). Provenance: Nathan of Churt (armorial bookplate). FIRST EDITION.
VINYL LPS, MISCELLANY. A interesting group. Mostly sleeves in Good or better condition, with some rubs to spines. Discs in at least VG condition, we suggest. Kai OLLSON, 'Once in a While', EMC 3082, 1975; HUDSON FORD, 'Free Spirit', A & M, AMLS 68274, 1974, clearly VG sleeve; CONTINUUM, 'Autumn Grass', VICTOR SF 8196 (small rub to sop of spine of sleeve o/w VG; Jiri STIVIN/Rudolf DASEK, 'System Tandem', JAPO 60 008 ST (sleeve very close to VG); EAST OF EDEN, 'New Leaf', Harvest, SHVL 796, 1971, sleeve Good, disc much better; FIREFALL, 'Firefall', Atlantic K50260, 1976, VG or better disc, sleeve VG; JACK-KNIFE, 'I Wish you Would', EG Records, 1979, POLS 1010, VG/disc better. Some rareities here.
W. B. Yeats. Reveries over Childhood and Youth. New York. 1916. First U.S. edition published in tandem with the London first. With coloured plate by Jack B. Yeats and 2 family portraits by John B. Yeats. The only Yeats book in which all the family participated. Beautiful original decorative cloth, superior to the London edition. Scarce
Corgi Toys No.GS5 Gift Set "Agricultural" comprising of Massey Ferguson 165 Tractor with shovel, Tandem Disc Harrow, Tipping Trailer with raves, Land Rover finished in metallic green, lemon interior and spun hubs, Dodge Truck with Animals plus other accessories, dog figure, in the original window box with Gift Set 5 leaflet (NM-BVG)
Corgi Toys 67 Ford 5000 Super Major Tractor, bluegrey body, grey plastic wheels, in good condition, some paint chips, replacement driver, blue/yellow picture box, is excellent original condition, 56 Tipper Trailer in window box, mint, 61 Four Furrow Plough, with leaflet and 71 wheel controlled tandem disc harrow, red/yellow/ silver , in good used original condition, picture display box is good.(4 items)
Corgi Toys 57 Massey Ferguson 65 Tractor with Fork, red/silver/cream, red plastic wheel hubs, with driver, in very good original condition, a couple of tiny paint chips, yellow/blue picture box is excellent and 71 wheel controlled tandem disc harrow, red/yellow/ silver with inner packing, in mint original condition, picture display box is good. (2 items)
Corgi Toys 66 Massey-Ferguson 165 Tractor, red/grey/white, black plastic steering wheel, red metal front wheels, rear red plastic wheels, in mint original condition, blue/yellow picture box is mint and 71 wheel controlled tandem disc harrow, red/yellow/ silver with inner packing, in near mint original condition, some tarnish to chrome parts, picture display box is good.(2 items)
The interior of the palace at Madura, with the District Collector conducting business, Company School, Madura, South India, circa 1840, pencil and watercolour on paper, inscribed to reverseProvenance: Private Collection J.P. Losty (1945-2021)An almost identical version of this painting was sold at Bonhams, India in Art, 7 June 2022, Lot 15.The Tamukkam Palace at Madura (modern Madurai), a few hundred miles from Madras, was originally built, circa 1670, as the summer palace of the Rani Mangammal, queen regent of the Nadu kingdom. It was later occupied by the Nawab of the Carnatic, and after that by the East India Company from 1801, functioning as the official residence of the District Collector. From 1959 the palace became the Mahatma Gandhi Museum. With its distinctive ogee arches and massive pillars, it was also depicted by Thomas and William Daniell in the late 18th Century.For a group of four Company School works depicting the exterior of the palace, and the temples of Minatchy and Vasanta, at Madura, see Sotheby's, Oriental Manuscripts and Miniatures, 29th April 1998, lots 91-94. These too have identifying inscriptions in English. M. Archer noted that aside from its official status Madura was regarded as a centre for Company officials, who were attracted by its monuments and sculpture. An Indian artist, named Ravanath Naik, appears to have worked in tandem with British amateur painters (Company Drawings in the India Office Library, London 1972, p. 52).For another painting by an Indian artist, depicting Pudu Mandapa, opposite the Meenakshi Temple, and in the collection of Conway Mordaunt Shipley, see India and Iran: Works on Paper, Oliver Forge & Brendan Lynch, March 2022, no. 25. Condition Report: The upper edge is fritted and scuffed. The four corners are scuffed. This work is not rule, neither does it have margins which my suggest it is trimmed. Two vertical tears can be noticed originating from the upper deg. Both are patched. Another tear is located close to the upper right corner. it runs horizontally on approximately 2 centimetres. A loss can be seen near the lower left corner. Some very occasional and minute staining and pitting can be notice throughout. This work otherwise presents as clean overall.The mount is water stained.
Kavallerie Offiziersdegen. Um 1720. Sachsen. Klinge L 80 cm, Gesamt L 96 cm. Gerade zweischneidige, reich verzierte Klinge. Fehlschärfe mit gekreuzten Klingen bzw. sächsischem Wappen, jeweils bekrönt vom Kurhut. Im ersten Viertel Klinge mehrpassig und beschriftet: "Nec temere nec timide, recte faciendo neminem timeas, tandem bona causa triumphat" (teils undeutlich), sowie bekrönter Adler und Monogramm "AR". Messinggriff mit feiner Kupferdrahtwicklung. Gefäß mit herzförmigem Stichblatt in Flechtoptik.. Literatur : Hilbert: "Blankwaffen aus drei Jahrhunderten", Berlin 1998, S. 70f. Provenienz : Sächsische Waffensammlung. Aufrufzeit 13. | Juni 2024 | voraussichtlich 14:15 Uhr (CET)Cavalry officer's sword. About 1720. Saxony. Blade L 80 cm, total L 96 cm. Straight double-edged, richly decorated blade. The ricasso with crossed blades and the Saxon coat of arms, each crowned by the elector's hat. The first quarter of the blade with several passages and inscribed: "Nec temere nec timide, recte faciendo neminem timeas, tandem bona causa triumphat" (partly indistinct), as well as a crowned eagle and the monogram "AR". Brass grip with fine copper wire winding. Hilt with heart-shaped guard plate in braided design.. Literature : Hilbert: "Blank weapons from three centuries", Berlin 1998, p. 70f. Provenance : Sächsische Waffensammlung. Aufrufzeit 13. | June 2024 | probably 14:15 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kavallerie Offiziersdegen. Sachsen. Klinge L 79,5 cm, Gesamt L 96 cm. Gerade, zweischneidige, sechspassige und reich verzierte Klinge. Fehlschärfe mit gekreuzten Klingen bzw. sächsischem Wappen, jeweils bekrönt vom Kurhut. Im ersten Viertel bechriftet: "Nec temere nec timide, recte faciendo neminem timeas, tandem bona causa triumphat", sowie bekrönter Adler und Monogramm "AR". Messinggriff mit grober Drahtwicklung. Gefäß mit herzförmigen Stichblatt, Parierstange, Bügel und Knauf in Flechtoptik. Drahtwicklung mit Reparaturstellen. Literatur : Vergleiche: Hilbert: "Blankwaffen aus drei Jahrhunderten", Berlin 1998, S.70. Provenienz : Sächsische Waffensammlung. Aufrufzeit 13. | Juni 2024 | voraussichtlich 14:02 Uhr (CET)Cavalry officer's sword. Saxony. Blade L 79.5 cm, total L 96 cm. Straight, double-edged, six-pointed and richly decorated blade. Ricasso with crossed blades and Saxon coat of arms, each surmounted by the elector's hat. Inscribed in the first quarter: "Nec temere nec timide, recte faciendo neminem timeas, tandem bona causa triumphat", as well as a crowned eagle and the monogram "AR". Brass grip with coarse wire winding. Hilt with heart-shaped guard plate, quillons, crossguard and pommel in braided look. Wire winding with repairs. Literature : Compare: Hilbert: "Blank weapons from three centuries", Berlin 1998, p.70. Provenance : Saxon Weapons Collection. Call time 13 June 2024 | probably 14:02 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
STATUETTE DE VASUDHARA EN ALLIAGE DE CUIVRE DORÉNÉPAL, DÉBUT DE L'ÉPOQUE MALLA, XIVE SIÈCLEHimalayan Art Resources item no. 1827 17.8 cm (7 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VASUDHARANEPAL, EARLY MALLA PERIOD, 14TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 322, no. 134.Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. Provenance Private Missouri Collector Sotheby's, New York, 18 December 1981, lot 21 Sotheby's, New York, 6 October 1990, lot 313 Greatly revered in the Nepalese Buddhist tradition, the goddess Vasudhara provides both spiritual and material prosperity. Boons of fertility, sustenance, wealth, and wisdom are represented in her hands with a water pot, sheaf of grain, strand of jewels, and the Prajnaparamita Sutra, respectively. Vasudhara's body, opulently adorned with jewelry, signifies her bodhisattva status – a conduit being traversing between her earthly existence and celestial body for the benefit of mankind. A principal deity that arose in tandem with the formation of Buddhist cults in Nepal, Vasudhara holds harmony in her aureole of arms and a warm expression of empathy and generosity. Modeled with supple forms and flexible gestures, sculptural depictions of Vasudhara reached an artistic denouement during Nepal's Early Malla period (13th-14th century). This sculpture's sensuous contours, gentle quietude, and luxurious ornament exemplify the Early Malla style. In Nepal, almost all female goddesses were depicted with round breasts, youthful bodies, and benign faces, a continuation of Indian aesthetics which held a long tradition of intertwining divine and sensual forms as compatible attributes. Evident in other examples of the goddess Vasudhara, these ritualized conventions of posture and expression are rarely deviated from. One of a similar period sold at Christie's, Hong Kong, 30 November 2020, lot 3012, shares similarly taut yet fleshy figural characteristics. In another example, a Manjushri of the same period (Bonhams, New York, 20 March 2018, lot 3203) with thin arching eyebrows resting over wide lids, a rounded chin, and pursed lower lip under the tip of the nose mirrors this Vasudhara's facial features with a beautified expression of quiescence. A third closely related example is held in the Cleveland Museum of Art (fig. 1; 1947.493). Of equal importance to the figural form is the minutia of inlaid semi-precious stones on all the adorning jewelry and implements. The earrings, lobes, pendants, clasps, and bands each feature an arrangement of opaque and translucent gemstones in colors of blue, green, turquoise, purple, and maroon. The crown type too, with a period-specific gemmed-roundel encompassed in a crescent and flanked by two jewel-encrusted lobes, is reflected in the crown of a standing Maitreya formerly of the Maitri Collection (Bonhams, New York, 20 March 2018, lot 3205). Here, distinctively setting the present example apart from other castings of the same period, the water pot, or 'treasure vase', that contains empowerments of long-life in Vasudhara's lap is lavishly ornamented with turquoise, garnets, and lapis.For the figures listed in this essay, please refer to our printed or digital catalogue.銅鎏金財源天母像尼泊爾 馬拉王朝早期 十四世紀著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁322，編號134 展覽「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日來源密蘇里州私人珍藏蘇富比，紐約，1981年12月18日，拍品21蘇富比，紐約，1990年10月6日，拍品313財源天母賜予著信眾精神層面之富足與世俗生活之安逸，於尼泊爾佛教之傳統中尤受尊崇。其所應承之豐富：繁衍、豐饒、財富與智慧，皆由手持之寶瓶、穀穗、珠串以及《般若波羅蜜多心經》經卷所一一象徵。其周身裝飾以華麗珠寶，彰顯其菩薩之神格——穿梭於塵世之體與天人之靈之間，以賜福凡人。隨著佛教敬拜於尼泊爾之興起，財源天母亦成為一尊重要神祇，在這鬱鬱蔥蔥的山谷之中備受珍愛。其手臂伸展，如舞姿般的光暈，映襯著慷慨而柔切的溫暖面容。財源天母之造像于尼泊爾馬拉王朝早期（十三至十四世紀）達致藝術極致，身形柔軟，姿態靈動。豐滿有致的身體輪廓、寧靜柔和的神色與奢華的裝飾皆體現了馬拉王朝早期風格。幾乎尼泊爾所造之所有女神像都如此尊一般，乳房圓潤、體態年輕、面目溫良，延續著使天人神性與悅目感性交織在一起的印度美學傳統。觀其他財源天母造像便可知，這些已被賦予儀式範例化的姿勢與表情甚少出現偏離。一件相近時期的拍品（佳士得，香港，2020年11月30日，拍品3012）便呼應了她緊致豐滿的身材。另一可比較之例為同一時期之文殊菩薩像（邦瀚斯，紐約，2018年3月20日，拍品3203），其細眉拱于寬闊的眼瞼上，下巴圓潤，下唇抿起、正近鼻尖，與此尊財源天母面部特徵如出一轍，呈現對靜態神情之美感化表達。第三件與之密切相關之作收藏於克利夫蘭藝術博物館（圖 1；1947.493）。與人物形像同等重要的，是所有珠寶飾物與法器所嵌各色半寶石所構成的精妙細節。耳鐺、吊墜、臂釧及各處葉形裝飾皆鑲有或透明，或不透明的藍、綠、青綠、紫和褐紅色寶石。寶冠同樣如此，月牙形中包圍著近似圓牌樣的寶石鑲嵌，其兩側為各鑲寶石的小葉，呈現出此時期的特徵，與之前邦瀚斯「Maitri」珍藏專拍一件彌勒立像（邦瀚斯，紐約，2018年3月20日，拍品3205）如出一轍。區別於同時期的其他銅像，此件財源天母像置於腿上的用于祈求長壽的寶瓶，飾有綠松石、石榴石及一排花瓣般的青金石，華麗非常。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Britains and other lead civilian figures, 1920s-30s, Britains 2xFramer’s wife, 2x Farmer’s wife with umbrella, 2x Milkmaids and Blacksmith, small selection of bagged and loose plants and beds, pots, hose reels, swans and signets, other figures include Station staff, farm people, Morestone tandem with baby in sidecar, Timpo? Esso mechanic (appears to be same figure as Icky from Super Heros set), (condition generally fair to poor, couple of figures lack arms), (lot).
Corgi Toys group of Trailers - (1) 56 Four Furrow Plough Red and yellow, (2) 62 Tipping - Red including hubs, yellow including detachable raves, (3) 71 Wheel Controlled Disc Tandem - Red and yellow, (4) 100 Dropside trailer - Cream and red with metal draw bar - conditions are Good to Good Plus bright examples in Fair to Good Plus boxes (4)
![Pawel Pan Presse - Tandem [und] Tandem 2. Dreieichenhain 1974 und 1976. Mit zahlreichen ganzseitigen Offsetlithographien. Sch](https://cdn.globalauctionplatform.com/8cd89dd2-0f55-454e-acc6-b15d00f8295d/2fce14da-45ab-4316-a8a9-b15d0184db5d/468x382.jpg)
Pawel Pan Presse - Tandem [und] Tandem 2. Dreieichenhain 1974 und 1976. Mit zahlreichen ganzseitigen Offsetlithographien. Schwarze Originalbroschuren.Je eins von 600 bzw. 300 nummerierten Exemplaren. - Die beiden großformatigen Bände stellen Künstler und Dichter im Großraum Frankfurt vor, u. a. Horst Bingel, Bernhard Jäger, Sascha Juritz, Wolfgang Weyrauch, Hans A. Halbey, Karl Krolow und Franz Mon. - Dazu: Acht weitere Drucke der Presse. 1973-1984. Originalbroschuren. Alle Druckvermerke von den Autoren und dem Künstler signiert. Texte von Hanne F. Juritz, Peter Rühmkorf, Illustrationen meist von Sascha Juritz. - Eine Beigabe.40,0 : 30,0 cm; 34,0 : 23,0 cm.Spindler 113.1 und 2 sowie 113.5, 6, 13, 35, 37, 39, 42 und 43
Cornelius Nepos. De vita excellentium imperatorum. 1733.De vita excellentium imperatorum, recte tandem captui puerorum accommodatus. Oder: Deutliche, und nach dem Begriff der Jugend endlich recht eingerichtete Erklärung des Cornelii Nepotis …durchhh Emanuel Sicerum. Augsburg. 1733. Zustand siehe Fotos. Versand kann organisiert werden.Cornelius Nepos. De vita excellentium imperatorum. 1733.See photos for condition. Shipping can be organised.
These fabulous and popular little cars were designed in 1959 and were heralded as a new concept in car design. Little did they know or envisage what would become of these great models. With a monocoque shell, transversely mounted engine and front wheel drive, the new 'Mini' soon became popular across the world and to all types of individuals, well healed or not! The potential for competition use was soon seen by John Cooper; he eventually persuaded BMC and the two worked together culminating in 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.First registered on 26th August 1964, this fantastic FIA rally specification Cooper S has been cherished by the vendor for the past twenty-three years. Wanting for nothing, this car has enjoyed three major refreshes during his ownership with respected preparers Richard Higgs, NVJ Developments and most recently this year with ATA Classics. Whilst it has been built into an FIA specification rally car, due to work commitments, the car has hardly seen any competition. A Longman cylinder head, rally camshaft, competition pistons, uprated gearbox and differential all make this car a potent and quick example. Safety features include; foam filled fuel tanks, fire extinguisher and six-point roll cage. The vendor reports the car to run and drive extremely well and is only selling due to continuing work commitments meaning he’ll unlikely have any time to compete with it anytime soon.Supplied with a V5C registration document, FIA papers and lots of invoices. A versatile car that has had over £37,000 spent on maintaining it to a high level, this wonderful example is ready to rally, race or simply blast to the pub in. Consigned by Will Penrose. AN ORIGINAL COOPER SFIA PAPERSWELL MAINTAINED AND READY TO GO
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 having also spent time in Japan. On its arrival the car was then subject to a no expense spared nut and bolt rebuild over a two year period at which time it was converted to right hand drive of which much is catalogued. The end result 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 Priddy FULLY RESTORED 1275 COOPER S WITH SUBTLE UPGRADESNO EXPENSE SPARED COLLECTABLE EXAMPLE FROM PROVATE COLLECTION
10 First Gear U.S. Trucks. 1959 International RF-200 Tandem Axle Tractor with Lowboy Trailer, SHELL. 1960 Model B-61 Mack Tractor & Trailer, H.F. Campbell & Son. 1951 Ford F-6 Dry Goods van, Bardahl. 1958 GMC Tow Truck F.D.N.Y. . 1957 International R-190 Fire Truck, US Army. 1949 Chevrolet Panel Truck, Maryland Heights Rescue. 1957 International R-200 Moving Van, Atlas Van Lines. 1951 Ford F-6 Fuel Tanker, Mid Continent Petroleum Corp. 1957 International R-200, Reed & Hoppes Tow Truck. Plus a 1940's/50's International Fire Truck. All boxed. Contents VGC-Mint. £100-130
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