Two Wedgwood pin dishes, one signedTwo Wedgwood pin dishes, one signed "My Best Wishes, Fiona Tonkin xxx 1993", Australian Ballerina, approx 13cm Dia and smaller (2) Provenance: Directly from the Hordern Family
FRANCE. EARLY CAMPAIGN MEDALS France.FRANCE. EARLY CAMPAIGN MEDALS France. Military Medal (Médaille Militaire), 3rd Republic, 1870 to 1951 issue France. Medal for the Franco-Prussian War (Médaille de 1870-1871); France. Medal for Tonkin - Naval Forces (Médaille du Tonkin - Marine), 1885; France. Medal for Morocco (Médaille de Maroc) 1909 with ‘MAROC’ bar;
FRANCE: 19TH CENTURY MEDALS France :MilitaryFRANCE: 19TH CENTURY MEDALS France :Military Medal (Médaille Militaire), 3rd Republic, 1870 to 1951 issue, silver-gilt; France: Medal for the Franco-Prussian War (Médaille de 1870-1871); France: Medal for Tonkin, Naval Forces (Médaille du Tonkin, Marine) 1885; France: Medal of the Veterans of 1870-1871 (Médaille des Veterans de 1870-1871) with ‘1870-1871’ bar; France: Patriotic Festival Souvenir Medal (Médaille Patriotique ‘Souvenir de la Fête’) (5)
ROYAL DOULTON WHISKY BOTTLE GILLIE ANDROYAL DOULTON WHISKY BOTTLE GILLIE AND THE FISHERMANDoultonKingware of Gillie and The Fisherman on one side and BL Scotch Whisky on the other side. All brown and green color variation. Royal Doulton backstamp.
Artist: Charles Noke
Dimensions: 8"H
Manufacturer: Royal Doulton
Country of Origin: England
Provenance: David Bearman Collection
ROYAL DOULTON FIGURINE, KING CHARLESROYAL DOULTON FIGURINE, KING CHARLES II HN3825King with long, curly hair; wearing blue, white and red; sitting in blue, throne chair.
Royal Doulton backstamp. #DoultonKing
Issued: 1996
Dimensions: 6"L x 9"H
Edition Number: DDD1120d468 Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Good.
KING JAMES I HN3822 - ROYAL DOULTONKING JAMES I HN3822 - ROYAL DOULTON FIGURINEGentleman in elaborate red and white attire with gold accents; Sitting on red and brown throne chair.
Royal Doulton backstamp. #RoyalDoultonKingJamesI
Issued: 1996
Dimensions: 6"L x 9"H
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Good.
ROY TONKIN "EQUINOX II" LIMITED EDITIONROY TONKIN "EQUINOX II" LIMITED EDITION ETCHINGDESCRIPTION: A Roy Tonkin framed multi-colored "Equinox II" Carborundum Etching on paper. This limited edition offset lithograph is signed and numbered "140 / 275". CIRCA: 20th Century ORIGIN: England DIMENSIONS: H: 38" W: 30" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
YACHT PAINTING BY COLACICCOBeautifulYACHT PAINTING BY COLACICCOBeautiful contemporary oil painting on masonite of the yacht AMERICA signed S. Colacicco. 24 x 36 inches, framed 29 x 41. ((A marine artist, Salvatore Colacicco was born in 1935 in Italy and studied at Brera Academy, Milan. He has been living in England for over thirty years. Nearly all Salvatore Colacicco's paintings during that time have been exported to the United States and sold through Tonkins of Nantucket Island.)
COLACICCO PAINTING SHIPSBeautiful contemporaryCOLACICCO PAINTING SHIPSBeautiful contemporary oil painting on masonite of a harbor scene with American ships, figures, etc. signed S. Colacicco. Size: 24 x 36 plus 2" frame. (A marine artist, Salvatore Colacicco was born in 1935 in Italy and studied at Brera Academy, Milan. He has been living in England for over thirty years. Nearly all Salvatore Colacicco's paintings during that time have been exported to the United States and sold through Tonkins of Nantucket Island.)
COLACICCO PAINTING SHIPSBeautiful contemporaryCOLACICCO PAINTING SHIPSBeautiful contemporary oil painting on masonite of a Nantucket steamship near Brant Point in Nantucket. Signed S. Colacicco. Size: 23 x 35 plus 2.5 inch frame. (A marine artist, Salvatore Colacicco was born in 1935 in Italy and studied at Brera Academy, Milan. He has been living in England for over thirty years. Nearly all Salvatore Colacicco's paintings during that time have been exported to the United States and sold through Tonkins of Nantucket Island.)
COLACICCO PAINTING WARSHIPSLarge vintageCOLACICCO PAINTING WARSHIPSLarge vintage oil painting on wood panel of warships in harbor signed Salvatore Colacicco. Identified verso BRITISH MAN O'WAR AT ANCHOR OFF MALTA. Size: 30 x 50 inches, framed 40 x 60 inches. (A marine artist, Salvatore Colacicco was born in 1935 in Italy and studied at Brera Academy, Milan. He has been living in England for over thirty years. Nearly all Salvatore Colacicco's paintings during that time have been exported to the United States and sold through Tonkins of Nantucket Island.)
LE PHO PAINTING 2 WOMEN OIL ON SILKLeLE PHO PAINTING 2 WOMEN OIL ON SILKLe Pho (Vietnamese/French, 1907-2001). Oil painting on silk mounted to masonite, depicting a pair of women conversing in a flower garden. Signed along the lower right. With several numerical inscriptions to the verso.
Le Pho was born in Vietnam in 1907. As a child, he was constantly finding opportunities to make art. As the son of the Viceroy of Tonkin, he had the opportunity to study art at the newly established Ecole des Beaux-Arts in Hanoi under Victor Tardieu (1870-1937), a well-respected French painter. In 1931, he traveled to France with Tardieu, where he studied at the Ecole des Beaux-Arts in Paris on a scholarship. He then traveled to Italy to do research, also visiting the Netherlands and Belgium in his tour of Europe.
After returning to Vietnam, Le Pho became a professor at the Ecole des Beaux-Arts in Hanoi. During his professorship, he decided to continue his education by making trips to China to study and make art. While in China, he studied traditional Chinese sculpture, visited museums, and even had the opportunity to paint the Emperor and Empress.
In 1937, he was sent to Paris to work on the Indochina Pavilion at the International Exposition of Art and Technology in Modern Life. He stayed in France after the Exposition, where he found great success as an artist. His first solo exhibition was in 1938, and soon after, his work began getting international exposure. His works were widely distributed, particularly in the United States because of an exclusive contract he signed in 1964 with Wally Findlay Galleries, an American company.
Despite his expatriate status, Le Pho kept close ties to his homeland. He was active in the Vietnamese community in Paris, and worked with Vietnamese dignitaries and intellectuals to advocate for better treatment of the colonized Vietnamese people. His ties to his homeland are also evident in his subject matter. His paintings featured women and flowers, which he depicted in ways influenced by Vietnamese traditions and aesthetics.
Unframed; Height: 21 1/2 in x width: 13 in. Framed; Height: 28 1/4 in x width: 20 in.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
LE PHO PAINTING OIL ON SILK/MASONITELeLE PHO PAINTING OIL ON SILK/MASONITELe Pho (Vietnamese/French, 1907-2001). Oil painting on silk mounted to masonite depicting an elegant young woman surrounded by vibrant flowers. Signed along the lower right. Illegibly titled along the upper right corner of the verso. With several indistinct inkstamps to the verso.
Le Pho was born in Vietnam in 1907. As a child, he was constantly finding opportunities to make art. As the son of the Viceroy of Tonkin, he had the opportunity to study art at the newly established Ecole des Beaux-Arts in Hanoi under Victor Tardieu (1870-1937), a well-respected French painter. In 1931, he traveled to France with Tardieu, where he studied at the Ecole des Beaux-Arts in Paris on a scholarship. He then traveled to Italy to do research, also visiting the Netherlands and Belgium in his tour of Europe.
After returning to Vietnam, Le Pho became a professor at the Ecole des Beaux-Arts in Hanoi. During his professorship, he decided to continue his education by making trips to China to study and make art. While in China, he studied traditional Chinese sculpture, visited museums, and even had the opportunity to paint the Emperor and Empress.
In 1937, he was sent to Paris to work on the Indochina Pavilion at the International Exposition of Art and Technology in Modern Life. He stayed in France after the Exposition, where he found great success as an artist. His first solo exhibition was in 1938, and soon after, his work began getting international exposure. His works were widely distributed, particularly in the United States because of an exclusive contract he signed in 1964 with Wally Findlay Galleries, an American company.
Despite his expatriate status, Le Pho kept close ties to his homeland. He was active in the Vietnamese community in Paris, and worked with Vietnamese dignitaries and intellectuals to advocate for better treatment of the colonized Vietnamese people. His ties to his homeland are also evident in his subject matter. His paintings featured women and flowers, which he depicted in ways influenced by Vietnamese traditions and aesthetics.
Unframed; Height: 18 in x width: 10 1/2 in. Framed; Height: 25 in x width: 17 3/4 in.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
LE PHO PAINTING OF TWO WOMEN W/ FLOWERSLeLE PHO PAINTING OF TWO WOMEN W/ FLOWERSLe Pho (Vietnamese/French, 1907-2001). Oil on silk-lined Masonite painting depicting two women surrounded by blooming flowers. Signed along the lower right.
Le Pho was born in Vietnam in 1907. As a child, he was constantly finding opportunities to make art. As the son of the Viceroy of Tonkin, he had the opportunity to study art at the newly established Ecole des Beaux-Arts in Hanoi under Victor Tardieu (1870-1937), a well-respected French painter. In 1931, he traveled to France with Tardieu, where he studied at the Ecole des Beaux-Arts in Paris on a scholarship. He then traveled to Italy to do research, also visiting the Netherlands and Belgium in his tour of Europe.
After returning to Vietnam, Le Pho became a professor at the Ecole des Beaux-Arts in Hanoi. During his professorship, he decided to continue his education by making trips to China to study and make art. While in China, he studied traditional Chinese sculpture, visited museums, and even had the opportunity to paint the Emperor and Empress.
In 1937, he was sent to Paris to work on the Indochina Pavilion at the International Exposition of Art and Technology in Modern Life. He stayed in France after the Exposition, where he found great success as an artist. His first solo exhibition was in 1938, and soon after, his work began getting international exposure. His works were widely distributed, particularly in the United States because of an exclusive contract he signed in 1964 with Wally Findlay Galleries, an American company.
Despite his expatriate status, Le Pho kept close ties to his homeland. He was active in the Vietnamese community in Paris, and worked with Vietnamese dignitaries and intellectuals to advocate for better treatment of the colonized Vietnamese people. His ties to his homeland are also evident in his subject matter. His paintings featured women and flowers, which he depicted in ways influenced by Vietnamese traditions and aesthetics.
Sight; height: 28 1/2 in x width: 39 1/4 in. Framed; height: 35 1/2 in x width: 46 in.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
THOMAS BRIGG & SONS WHANGEE UMBRELLA-Ca.THOMAS BRIGG & SONS WHANGEE UMBRELLA-Ca. 1960 -Classic English umbrella with a sizeable whangee crook handle, a wood pole shaft, metal ferrule, U-shaped steel ribs and stretchers and a blackened brass, sliding runner. The probably refurbished canopy of the umbrella is made up of eight grayish-blue squared pattern silk with matching tie wrap and black steel popper and turned black steel rib tips. -All Brigg umbrellas were things of beauty, but this one is sleeker and more covetable than all the others that had gone before it. Any stylish gentleman was bound to want one, even if he had several Briggs already. -Anyhow, best British quality and repeatedly winners of coveted Design Council Awards, this umbrella obeys to long gone rigorous standards of production and also proves to that it was made to last. -H. 5 ¾” x 7”, O.L. 36” -$100-$200 -Published in the book “In Good Hands, 250 years of craftsmanship at, Swaine Adeny Brigg” by Katherine Prior, pages 120-121, this Brigg umbrella related story is worth two minutes reading. -“One gentleman’s umbrella in particular achieved world fame - this was Neville Chamberlain’s black silk which he took with him to talks with Adolf Hitler at Munich in September 1938. The world, holding its breath in hope of peace, looked on in amazement as photographs emerged of Chamberlain’s immaculately furled umbrella claiming a starring role in the proceedings. A few months later, in January 1939, the same umbrella twirled its way to Rome, when Chamberlain paid a visit to Benito Mussolini. Newspapers devoted column inches to this unlikely symbol of hope, with one or two of Brigg’s salesmen providing discreet insights into the great man’s brolly behaviour. Every few years, they reported, Chamberlain personally brought his umbrella into the St James’s shop to be recovered. While it was being examined, he would while away the minutes admiring and fondling the more flamboyant styles on display, but he was never tempted to buy another, and always ordered simply that his old one be recovered. According to Viscountess Elibank, his wife had given it to him in 1899 and he refused therefore to countenance its replacement. It was a heavy black silk affair, with a Malacca cane handle, seven-eighths of an inch thick, spliced onto a Tonkin cane shaft, with a gilt collar. One of Brigg’s insiders reported that it had originally cost £2 17s 6d, but that if the collar had been of solid gold the price would have been six guineas. It was smart but not showy. `It’s what one might call a Rolls-Royce of an umbrella,’ the insider added. ‘Natty but quiet; solid, but lighter, the sort of umbrella which becomes part of a man, if I may say so.’ The repair men recovered it each time, but they could not help but notice that it had not been opened since they had last ironed its hand-stitched gores into pristine pleats. Chamberlain had most recently brought it in just before he flew to Munich. This press reportage seemed to confirm Chamberlain’s reputation as a sober and restrained politician, not given to rash decisions. In the United States the fascination with Chamberlain’s prop prompted articles on the style and deportment of a true gentleman and kicked off a local revival in umbrellas and parasols. In July 1939 Life magazine devoted an article to the ‘umbrella of appeasement’, which was not yet a derogatory term for most people. For a few short months, umbrellas were no longer associated with soggy gloom, but were wielded in a spirit of hope and optimism. For his part, Hitler, who had resented being forced into a diplomatic conference of `equals’ at Munich, could barely contain his scorn for `umbrella politicians’. At the time all this fuss must have seemed like magnificent publicity for Brigg. Indeed, the shop men could not have spoken to the press without the blessing of Brigg’s management. But ultimately, of course, it was an ironic prelude to the ending of the company’s independence. A few months later, the war that Chamberlain had tried to avert erupted, and soon afterwards Brigg lost their Paris showroom. The merger of Thomas Brigg & Sons with Swaine & Adeney followed in February 1943. When the war was over, a new era of economic austerity and political levelling ensured that the art of making and selling quality umbrellas would never again be quite the same.”
BIRMINGHAM STERLING SILVER NAPKIN RINGBIRMINGHAM STERLING SILVER NAPKIN RING 1912Birmingham sterling silver napkin ring, engraved Stella Tonkinson. Approx. 1.0 x 2 in., weight 0.32 ounces.
HEDDON CHOICE TONKIN SPLIT BAMBOO #14,HEDDON CHOICE TONKIN SPLIT BAMBOO #14, 9FT, 3 PC FLY ROD HEDDON CHOICE TONKIN TEMPERED SPLIT BAMBOO #14, 9 FOOT 3 PIECE FLY ROD HAVING ORIGINAL LABELS ON BOTH BUTT AND CANVAS BAG, AND A COMPLIMENTARY EXTRA TIP ROD
ENGLISH COPPER & BRASS SHIP'S LANTERN,ENGLISH COPPER & BRASS SHIP'S LANTERN, C. 1900 William Harvie & Co. Ltd. (English), circa 1900. Large pattern number 95 copper and brass ship's port side lantern, having a red Fresnel lense and removable burner. Marked to with plaque and numbered B.8664; shipping label noting Tonkin of
GARY TONKIN (AUSTRALIA, 1949-), WHALINGGARY TONKIN (AUSTRALIA, 1949-), WHALING SCENE SKETCH., PENCIL ON PAPER, 13.25" X 10.25" SIGHT. FRAMED 17" X 14".GARY TONKIN, Australia, 1949-, Whaling scene sketch. Signed lower right "GA Tonkin". Dimensions: Pencil on paper, 13.25" x 10.25" sight. Framed 17" x 14".
(60) Pcs Royal Doulton porcelain dinnerware,(60) Pcs Royal Doulton porcelain dinnerware, Tonkin pattern, c/o (14) 10-5/8" dinner plates, (4) 8" salad plates, (10) 6-1/2" B&B plates, (5) 6-7/8" soup bowls, (11) teacups, (12) saucers, oval serving bowl, covered casserole, sugar bowl, creamer
GROUP OF 8 JAPANESE CAMERA LENSES GroupGROUP OF 8 JAPANESE CAMERA LENSES Group of 8 Japanese camera lenses. Sigma, Tonkina, Quantaray, and other makers for various mounts, Canon, Minolta.
FIFTEEN DIECAST SCALE MODEL TRUCKS including;FIFTEEN DIECAST SCALE MODEL TRUCKS including; Gescha; 3042 Schorling TSZ Kehrfahrzeug (vacuum) 3040 2626 AK flatbed dump and Leach 2-R refuse Conrad; pallet delivery No.6598/0-2781 truck with lift; NZG; M 232 D22 AK dump truck; Siku 2711 tow truck; DCP 0102 Chevrolet pick up; Supermini; 1924A Mercedes; (6) Tonkin replicas Costco FL-70's; all in original boxes.
TEN DIECAST SCALE MODELS; (2) NorscotTEN DIECAST SCALE MODELS; (2) Norscot 30099 Grove AMZ131XT powered boom; NZG (2) No.213 Ingersoll-Rand drilling rigs (4) No.139 Bucyrus-Erie hydraulic excavators; Tonkin replicas; Kenworth W900L daycab with red lowboy; Universal Hobbies; Liebherr 944 claw loader; all in original boxes.
SEVEN DIECAST METAL MODELS OF TRUCKSSEVEN DIECAST METAL MODELS OF TRUCKS Athearn; Ford C series tractor; Vermeer; 9580-001 truck trencher and navigator; Siku; 3519 truck low boy and paver; IR; Bobcat tractor trailer (2) s175 loaders and (2) 325 excavators; Tonkin replicas; Sterling LT 9500 material handler; super stone slinger truck (no box) and Conrad model 0012 International truck with lowboy trailer.