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![A Chinese hand carved jade sculpture depicting a koi carp and flower.Sat on a wooden base [12.5cm in height]](https://cdn.globalauctionplatform.com/0ca753d6-e09a-4e58-9deb-ad6e00d8fde7/137c2b00-cb01-4aea-97e9-ad70011ce583/468x382.jpg)
![A 19th century [possibly earlier] Far Eastern Bronze sculpture of a beetle. [2.5x6.5x2cm]](https://cdn.globalauctionplatform.com/0ca753d6-e09a-4e58-9deb-ad6e00d8fde7/1e5222a3-8df4-4910-975c-ad700166acd0/468x382.jpg)
![A bronze sculpture of a stag fitted on a marble base signed by Mene. [41cm in height]](https://cdn.globalauctionplatform.com/0ca753d6-e09a-4e58-9deb-ad6e00d8fde7/20c052eb-1570-4eb2-a0cf-ad700167e534/468x382.jpg)
Lot 639
The most thoroughly restored and exactingly finished 2-door Range Rover, resplendent in Tuscan Blue.A superbly restored Range Rover, from the Land Rover engineering skills behind ‘LOF Clutches’Fully restored from the ground up, costing £40,000, with great attention to detail from a team that really know Land RoverWith a finish to rival any 're-engineered' exampleThe 'Suffix B' has the shortest production run of all Range Rovers2-door Classic Range Rovers are wholly endearing and always seem in fashion, blending in effortlessly whether at Goodwood or a local country showThere is a select group of British cars that are instantly recognisable for their silhouettes alone; the Morris Minor, the Mini, the Jaguar E-Type – and the Range Rover, all vehicles that merit that much-abused word ‘iconic’. Although Rover’s head of new vehicle projects, Spencer King, claimed that the design for a new 4x4 was merely a stopgap, the Louvre Museum in Paris described the result of his collaboration with the engineer Gordon Bashford as an 'outstanding piece of modern sculpture'.Sales commenced on June 17th, with prices from £1,998. ‘Autocar’ magazine raved: “What is so good about the Range Rover is the way it carries out its multiple functions, serving equally well as tug, load carrier, cross-country vehicle and, by no means least, as an ordinary car suitable even for commuting in heavy traffic.”Traffic policing further raised the profile of the Range Rover, and by 1971 it was employed by the forces of Cheshire, Kent, Staffordshire and Warwickshire. In 1976, ‘Car’ magazine had "not found a vehicle to challenge the Range Rover” while observing the Land Cruiser from Japan was “a nasty piece of work”.February 1996 marked the demise of what had become known as the Range Rover ‘Classic’, following the launch of the second-generation Range Rover two years earlier, by which time some examples resembled a mobile gin-palace. In the words of that ‘Car’ article of 44 years ago: “It really is just as happy in the deep mire of a forest as in the King’s Road” and to quote ‘Motor’ magazine of 1975: “It isn’t perfect, but there are so few cars which even begin to compete. We love it!”Even today, Range Rover illustrates this model in its advertisements to help promote its latest version of the brand. This tells you all you need to know about the original Range Rover: it is a design icon. Being of Land Rover ancestry, it goes without saying that it is immensely strong and yet with its air of quiet sophistication, it is also a simple vehicle by today’s standards, making it easy to maintain and run.This particular car is a 1972 ‘Suffix B’ version, the second iteration in the 25-year-long series of models. ‘Suffix B’ cars were produced between January and October 1973, making it the shortest production run of any Range Rover model. It featured many improvements over the more common ‘Suffix A’ such as rear window wash-wipe, better sound deadening, more instrumentation, a larger twin outlet water bottle and much else besides.This particular Suffix B was hand-picked by our vendor, a very well-respected Land Rover authority, for a full and comprehensive restoration, costing in the end, approximately £40,000. Like all Range Rovers from this era, wet weather and time take their toll, and this is where a 'proper' restoration differs from a mere restoration. Our vendor knows the difference, so this Range Rover's body was fully acid-dipped and neutralised, followed by extensive welding to the rear floor, rear arches, rear crossmember, front foot wells and front bulkhead; the front end was renewed with high-quality pattern parts. The body was then acid-dipped again, followed by being epoxy painted, seam-sealed and then repainted in Tuscan Blue, this alone costing £11,000.The Rover 3.5-litre V8 engine was fully rebuilt, re-bored, and refitted with a reground crank, new cam, pistons and ancillaries. The original 4-speed LT95 gearbox was also fully rebuild with a vacuum diff-lock. The axles too were fully restored and rebuilt, whilst the original chassis was inspected, cleaned and treated, but remarkably required no welding! The underbody was then paint protected and insulated using a body-coloured Schultz finish.The process continued with the fitting of a brand new full stainless steel exhaust system, a set of Blockley tyres (specially made to mimic the original style Michelin tyres, costing £900) and many hard-to-find parts sourced from contacts, including new light lenses, ignition barrel and clocks etc. Details like the use of a full original fasteners kit, with the correct period fasteners (costing over £1,000), have all been done correctly. New window seals all round, a new 'Famous Four' aluminium tailgate, genuine Land Rover front grille, and fuel tank. The upholstery was fully retrimmed by a highly skilled trimmer and reinstalled with the original 'Kit-Kat' beige seating. This finished Range Rover has been 'shaken down', set-up correctly and enjoyed for a few hundred miles since its restoration. The odometer was zeroed upon completion, given the extent of the work done, and is now ready to be enjoyed by an enthusiast who will have many years of pleasurable Classic Range Rover ownership head of them.SpecificationMake: LAND ROVERModel: RANGE ROVER 1ST GENYear: 1972Chassis Number: 35505627BRegistration Number: LFL 382LTransmission: ManualEngine Number: 20304411 Drive Side: Right-hand DriveMake: RHDClick here for more details and images
Lot 164
Kunstliebhaber bei der Betrachtung einer SkulpturFrankreich, E. 18. Jh.Öl/Lwd., doubl. 46 x 38 cm. - Links kleine Bereibung. - Wohl Skizze für großes Gemälde.Armlehnstuhl, Interieur Art lover contemplating a sculpture.France, end of the 18th century.Oil on canvas, relined. 46 x 38 cm. - Small rubbing on the left side. - Probably a sketchfor a large painting.
Lot 550
Smigay, LeoMarmorplastik(Chojno/Warthe 1900-1970 Nürnberg) Abstrakte Form. Marmor. H. 23,5 x 36 x 22 cm. - Unterdem Einfluss von Henry Moore.moderne Skulptur Smigay, LeoMarble sculpture(Chojno/Warthe 1900-1970 Nuremberg) Abstract form. Marble. H. 23,5 x 36 x 22 cm. - Underthe influence of Henry Moore.
Lot 568
Gerstein, DavidHuman circle - 1995(Jerusalem 1944 geb.) Wandplastik, zirkulär. Metall, polychrom gefasst. Signiert undnummeriert "121/295". Ø 90 cm.moderne Skulptur, Zeitgenössischer Künstler Gerstein, DavidHuman circle - 1995(born 1944 in Jerusalem) Wall sculpture, circular. Metal, polychrome painted. Signed andnumbered ''121/295''. Ø 90 cm.
Lot 569
Gerstein, DavidThe Great Marathon(Jerusalem 1944 geb.) Wandplastik. Stahl, polychrom gefasst. Signiert und nummeriert"150/295". 25 x 122 x 9 cm.moderne Skulptur, Zeitgenössischer Künstler Gerstein, DavidThe Great Marathon(born 1944 in Jerusalem) Wall sculpture. Steel, polychrome painted. Signed and numbered''150/295''. 25 x 122 x 9 cm.
Lot 573
Tabachnyk, JosefDas Loreley Lied, Heinrich Heine - 2001(Schytomyr 1947 geb., lebt in Nürnberg) Auf Marmorsockel Architekturgebilde mitangedeuteten Rheinländischen Bauwerken, darauf in stilisierter Gondel mit Narrenkopfmännliche Skulptur mit langem Mantel, Halstuch und Buch in der Hand. Bronze braunpatiniert. Ein Turm signiert. H. 50 cm.moderne Skulptur, Zeitgenössischer Künstler Tabachnyk, JosefThe Loreley Song, Heinrich Heine - 2001(born 1947 in Schytomyr, lives in Nuremberg) On a marble base an architectural structurewith suggested Rhineland buildings, on top a stylised gondola with a jester's head and amale sculpture with a long coat, a scarf and a book in his hand. Bronze brown patinated.One tower signed. H. 50 cm.
Lot 275
GEORGE WILSON (1924-2004); a stoneware sculpture of abstract form washed with white slip, painted signature, height 27cm. (D)Provenance: Artist's collection.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 319
RICHARD SLEE (born 1946); 'Paisley', a large earthenware leaf sculpture mounted on textured splayed base covered in golden-yellow and dark pink glaze, incised signature, made circa 1984, height 40.5cm. (D)Provenance: Liliana Epstein collection.Exhibited: Richard Slee & Katherine Virgils, British Crafts Centre, London, 1984; British Studio Ceramics, Buckinghamshire County Museum, Aylesbury, 2003.Literature: Illustrated in Paul Rice, British Studio Ceramics (Crowood Press, 2002), p. 180. Additional InformationShort firing crack to one edge, otherwise appears good with no further signs of faults, damage or restorations. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 49
the bronze 38cm high, 42cm high including base approx,In his depiction of Mars, Giambologna has captured a moment in time; where Mars having sighted the enemy, halts in mid stride and readies his sword for attack. The sculptor has used this theme to explore the physique of the male nude, the focus is on his strong and muscular body and his serious gaze, the usual attributes such as his helmet or spear are unnecessary as his physical and mental strength are depicted through the body and pose alone. The model is known as the Dresden Mars, after a cast made by Giambologna for the Elector of Saxony and Erzmarschall of the Holy Roman Empire Christian I, which was first documented in 1587 in the first inventory of the Dresden Kunstkammer.For a 16th century cast of Mars, see the Metropolitan Museum of Art, New York, L.2017.40.3.Related Literature: C. Avery, Giambologna. The Complete Sculpture, Oxford, 1987, pp. 137, 261, no. 69.
Lot 686
A 1930s Malayan elephant sculpture of carved wood, depicting a naturalistically modelled elephant ambling along and pulling a log with a child perched on top, together with note of provenance asserting that the sculpture was commissioned as a memento for a young boy who was born and raised near Terengganu in Malaysia, due to his father's service in the British Army, and who was moving to Scotland to attend school in Edinburgh, the elephant remained with the boy for the rest of his life, 47 cm high
Lot 1108
Joanna Kirk (British, b.1963). 'Jackie', 1994. Pastel on paper, 170 x 132. Provenance: From a reputable private collection. Acquired from the Todd Gallery, London by the present owner in 1994. Literature: Saatchi Gallery Loan of Art, pp.181. From Saatchi Gallery Loan of Art, pp.180: In 1993, Kirk gave several people a packet of plasticine and asked them to turn it into a sculpture. They were not artists, and the works they created ranged from crude figures to abstract forms. Kirk photographed each one, then diligently copied them into pastel in mesmerising detail on huge sheets of intriguing questions of originality - where does the creativity lie in such a collaboration?
Lot 278
NO RESERVE Italian Art.- Valentiner (Wilhelm R.) Studies of Italian Renaissance Sculpture, 1950 § Heydenreich ( Ludwig H.) Leonardo da Vinci, 2 vol., New York & Basel, 1954 § Santoro (F.S., editor) From Sodoma to Marco Pino: Painters in Siena in the first half of the Sixteenth Century, original cloth-backed boards, Siena, 1988 § Passavant (G.) Verrocchio, 1969 § Beneden (B. van) & Nicola Jennings. David Bowie's Tintoretto: Angel Foretelling the Martyrdom of Saint Catherine of Alexandria, 2017 § Rubin (P.L.) & others. Renaissance Florence: The Art of the 1470s, 1999 § Pope-Hennessy (John) The Complete Work of Paolo Uccello, 1950, illustrations, some colour, most original cloth or boards, the second with slip-case (stained), the last four with dust-jackets, the last frayed, some rubbed; and c.115 others on Italian art and architecture, v.s. (c.120)
Lot 353
Carol Frarey (20th/21st century) - 'The Art Admirers', a young man and girl admiring sculpture in a gallery, signed, pencil and watercolour, 9" x 7.5"; together with 15 further pictures including some watercolours and prints by or after Sallie Seymour, Sian Tezel giclee print of a labrador, reproductions of Martock, and Barrington Court, study of puppies, print of Edinburgh, another depicting Reigate marketplace, four prints of Pre-Raphaelite girls after Rosetti, Burne-Jones and other artists, print of Martock church Somerset and an empty picture frame, various sizes, (a collection)
Lot 417
Naomi Blake (1924-2018), an abstract aluminum sculpture on a marble base, 34 cm high. From the artist's studio. Naomi Blake was a holocaust survivor, freedom fighter, trained at the Horsea School of Art.Footnote: Provenance: from artist's studio. Naomi Blake was a holocaust survivor, freedom fighter, trained at the Horsea School of Art.
Lot 34
Art Deco bird lamp with chrome branches supporting two birds mounted either side of textured opaque glass globe, on circular alabaster base, original in-line switch, h26.5cm, and an Art Deco coppered spelter sculpture of a bird on marble base, indistinct lettering to the base of the bird, h10cm (2).Condition Report: Single bird on marble base worn. Chips to marble.Lamp - Chrome worn. Beak of one bird broken. Tail of other broken.Dents, dings and pitting.Small frits around rim of shade.General wear and tear consistent with age and use.
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67715 item(s)/page