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Lot 461
* VIDA GABOR (HUNGARIAN 1937 - 2007), IN THE WORKSHOP oil on board, monogrammed framedimage size 39cm x 29cm, overall size 62cm x 51cm Note: Vida Gabor was born to a simple Hungarian family in 1937. Largely self-taught as a painter, his work uses many unique techniques, including designing his own brushes and tools. he technique that Gabor uses in his painting is referred to as "scumbling", which involves the application of a thin layer of colour placed over a darker under paint, with numerous translucent layers applied on top. His work focuses on European life, with scenes full of character and humour, the majority of which depict scenes at night, using soft candlelight and street lamps to create a warm and intimate ambient. Similar scenes have previously been attributed to the French artist Victor Goulard. There has been some discussion as to whether Vida Gabor may have signed earlier works "Goulard", possibly in order to appeal to the French market.
Lot 102
Reg Butler (1913-1981) bronze, "Ophelia L", 1955-56, 50cm high (8 of 8), together with Gallery Pangolin receipt and certificate dated January 2020 From the collection of the late Maurice Costley Reg Butler studied and lectured at the Architectural Association School of Architecture in London from 1937 to 1939. A conscientious objector during World War Two, he was exempted from military service and set up a blacksmithing business repairing farm tools. He became one of the best known sculptors of the 1950s and 1960s, and taught at the Slade School of Art. Many of his works are in the collections of the Museum of Modern Art in New York and the Tate Gallery in London. Condition Report
Lot 145
A collection of antique tools, to include: a W Greenslade of Bristol plane, 40cm, two other smaller planes, one marked Campbell, another G Pringle (?), moulding saw T F Harrison and John Baker & Sons, ( A lot ) The Alastair & Sheila Brooks Collection: of Oaklands (& past owners of Ednam House Hotel), Kelso
Lot 37
18 Model Figure/Scene Kits Various - Mainly 1/35 Scale (2500G).MB (Master Box Ltd) - Outlaw. Gunslinger Series. Kit No. 1 - MB35203MB - Indian Wars Series Raid - MB35138MB - On the Great Plains - MB35189MENG - Middle Easterners - HS-001MB - Ali - Status Check - MB24028MiniArt - French Guardsman XVII Century - 16011 - 1/16 Scale.Verlinden Productions - Hun Warrior 400 AD - 877 - Super Scale 120mm (Box a little scuffed)K&R Replicas - KR13 Triumph TR6 1969-1975 (Box very scruffy)T5418 - Woodland Indian Allied to Britain FIW.Francois L'Olonnais, 1660 - Pirates of the Caribbean - PC-10 - 1/32 ScalePegaso Girls Tamiya - Livestock Set.Fujimi - Garage & Tools Drivers (Box scruffy)Verlinden - Indian Army Scout - 935 - Super Scale 120mmVerlinden - Mounted Beduin - 1728 - 1/35 Scale. (Box is scruffy) Condition Report - Kits - Advised all are unbuilt. Appear Complete in their boxes, however some boxes are poor. (see photos)
Lot 36
Titled: Las Dulces Maneras Del Combate. This large acrylic painting includes a sharp-edged anchor with a cement core that is in the center of an undefined background. The cordless maritime tool is painted with a smooth surface while Acosta has created a heavy impasto of muted colors that he burrowed with deep tools. Acosta has left paint drip on parts of the anchor that appears to float in a thick ocean base. Signed and dates top right. On Verso: Acosta, Las dulces maneras del combate, Acrylic; 55"x 70", Miami 1994 May, pen signature. On side of canvas: signed W. C. Estill, Domingo De Montejo. Artist: Gustavo AcostaIssued: 1994Dimensions: 70.75"L x 0.75"W x 54.5"HProvenance: The Bass Museum of Art Condition: Good condition.
Lot 3122
MILITARY. – James EDGE-PARTINGTON. An Album of the Weapons, Tools, Ornaments, Articles of Dress of the Natives of the Pacific Islands. London: The Holland Press, 1969. 2 vols., limited facsimile edition, this being one of 350 copies, oblong 4to (202 x 404mm.) (Mild toning.) Original brown cloth, dust-jackets (2).
Lot 19
A DISPLAY OF CEREMONIAL JAPANESE ARROWHEADS (YANONE), TWO SHOOTING GLOVES (YUGAKE) AND TWO BOXES OF SPARE BOWSTRINGS (TSURU) AND OTHER SPARESthe first a stand of six ceremonial arrowheads (yanone) with saw-cut interior patterns on long tangs; the second a single-thumb glove and a three-finger glove; the third a woven rattan box containing numerous spare bowstrings, some pine glue (kusune) and a woven pad for applying it to the bowstrings, along with a tool for bending Japanese arrows and two other tools, two bow bags, and some spare nocks; the fourth a lacquered box with a Japanese archer on the lid containing more bowstrings, largest box 25.0 cm (6)
Lot 117
A FINE AND IMPORTANT NORTH ITALIAN ENGRAVED THREE-QUARTER CUIRASSIER ARMOUR, CIRCA 1620-30, PROBABLY BRESCIAcomprising Zischagge with one-piece skull rising to a low comb of inverted V-section, fitted at its nape with a plume-holder and at its apex with a bulbous finial on a large quatrefoil washer, projecting forward at the brow to an obtusely-pointed peak with a rectangular staple above it carrying a nasal with elaborately shaped finial and secured by a thumb-screw, and fitted at its rear with a pronounced flared neck-guard of four lames, the lowest of pointed ogee profile (disarticulated at right end), and at each side with a two-piece pendant cheek-piece, fitted at its centre with a domed rivet enclosed by eight radiating rectangular slots within a frame of circular ventilation-holes and stepped at the front top to accommodate the peak; collar of a single plate front and rear, fastened at the right by a stud and key-hole slot; heavy breastplate formed in one piece with a low medial ridge, struck with the proof mark of a bullet at the right of the chest, fitted at each side with a stud to receive a shoulder-strap and a further stud at its centre, a pierced stud at each side to receive a swivel-hook from the back-plate, flanged outward at its base to receive a pair of tassets each of fifteen lames divisible at the eighth; poleyns of four lames the second in each case fitted with a large centrally-puckered wing; backplate matching the breastplate, struck with the proof mark of a bullet, fitted at each shoulder with a leather strap reinforced with four iron scales, at the base with a hook at each side to engage the breastplate, and at its base with a broad culet of seven lames; a pair of full arm-defences comprising a pair of symmetrical pauldrons each of seven lames overlapping outwards from the third, connected by a turner to a pair of vambraces each formed of a tubular upper and lower cannon linked by a couter of four lames with a centrally puckered oval wing at the front, and enclosed at the inside of the elbow by ten lames overlapping inwards from the sixth, the lower cannon fastened at the front by a sprung stud; a pair of gauntlets each with a flared cuff closed at the inside, articulated by a wrist-plate to three metacarpal plates, a shaped knuckle-plate, a hinged thumb-defence and finger-lames (with small restorations); the principle borders of the armour formed with plain inward-turned edges, those of the base of the cullet roped, the whole decorated throughout with engraved trophies-of-arms within elaborate strapwork frames filled with pointié foliage, the turners and gauntlets each with trophies incorporating cannon and artillery tools, a running border of flowers at the principle edges, the secondary borders with a frieze-work of blind arcading, the breastplate with a Patriarchal Cross in the centre at the neck; the inside of the skull and the backplate painted with a white inventory number ‘45’, in clean, stable condition throughout (the bottom edge of the left poleyn with light pitting and small chips, the decoration of the culet with areas of wear, minor disarticulations, expertly releathered, some buckles restored): on a wooden stand with leather boots ProvenancePerhaps one of the group of armours purchased by Lord Somers in 1853, stated (incorrectly) to be of Emperor Charles V’s bodyguard and preserved in Milan for many years.Charles Somers-Cocks, 3rd Earl Somers (1819-83), Eastnor Castle, thence by descent LiteratureLady Henry Somerset, Eastnor Castle, London 1889, p. 22: ‘A three-quarter suit of Plate Armour, engraved with trophies of arms and fleur-de-lys’. A helmet of very similar form, decorated in the same style, is preserved in the former collection of the Dukes of Este at Konopiště, Czech Republic (inv. no. I.c.D-114, and illustrated Šáda 1986, p. 37, no. 18.t.) The specific inclusion of cannon and artillery tools such as ladles and sponges on the turners and gauntlets may suggest that this was intended for a senior officer of artillery. The Patriarchal Cross, also called the Cross of Lorraine, is probably a reference to the venerated relic of the True Cross in the cathedral at Brescia that is housed within a cross of the same form. Two morions of circa 1570-80, decorated with a similar cross along with the rampant lion of Brescia and attributed to the that town’s guard are respectively preserved in the Metropolitan Museum of Art, New York (acc. no. 14.25.532) and the Museo Civico L. Marzoli, Brescia (inv. no. 330). See Rossi and Di Carpegna 1969, p. 55 cat. no. 120. Another armour of this type, formerly in the collection of Tosio Martinengo, and now in the Museo Civico L. Marzoli, Brescia, is illustrated Rossi, p. 77, cat. No B67. The armour in Brescia has a close helmet in place of Zischagge, a matching stud in the centre of the chest, divisible tassets, enclosed elbows, and similar decoration throughout including the rampant lion of Brescia on the breastplate. A cuirass decorated in a similar manner and attributed to the ownership of one of the Counts Martinengo, is preserved in the Armeria Reale, Turin. See Boccia and Coelho, p. 526, nos. 445, 446 and 448. A slightly later cuirass in the Victoria and Albert Museum (inv. no. 5778-1859), is decorated in a related manner, with the conjoined initials ‘AM’, and a Count’s coronet above a Patriarchal Cross and Orb in the centre. The initials are similar to those on the ricasso of a left-hand dagger attributed to Pietro Antonio Martinengo, Count of Brescia (recorded 1644-1671), now preserved in the Art Institute of Chicago (ref. no. 1982.2150).
Lot 229
A COLLECTION OF ABORIGINAL STONE ARTEFACTSAustralian, comprising fifty individual pieces including digging tools, coolamon scrapers, spear points, knives/chisels and wood shaping tools, the largest 8cm long and the smallest 1.5cm long (50)Provenance: The Richard Parr Collection, Isle of Wight.
Lot 761
A Victorian silhouette with gilt detail depicting one young girl seated with a begging dog, one young girl holding a basket of flowers, one young girl holding a spade and one young girl holding a wheelbarrow with garden tools, glazed and in gilt frame, glass broken, picture size 15" (38.5cm) x 10¾" x 27.5cm) (P21)
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79034 item(s)/page