BLASER A .30-06 'K95 ATTACHE STUTZEN' SINGLE-BARRELLED TAKE-DOWN NON-EJECTOR SPORTING RIFLE, serial no. 3/102832, for 2010, 19 3/4in. octagonal nitro barrel with ramp-mounted open sights and ramp-mounted high visibility fore-sight, the breech end with Blaser quickly-detachable rail mount notches, blacked action with wooden side panels, gold-washed trigger and breech face, sprung automatic safety / cocking lever, highly-figured pistolgrip stock with sculpted cheekpiece, hogsback comb, palm swell, pistolgrip-cap, sling eyes, 14 3/8in. pull including 5/8in. recoil pad, weight 5lb. 9oz., in its universal case with paperwork. S1 - Sold as a Section 1 Firearm under the 1968 Firearms Act

Estimation 1 500 - 2 000 GBP

Mise à prix 1 500 GBP

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Lot 7

Estim. 70 000 - 90 000 GBP

PACKARD SUPER 8 CAB, 1936 1st registration: 06/30/1936 Type: MPV Body : CABR Serial number : 10971122 Fiscal power : 31 CV Energy : ES Mileage : 48,866 km (not guaranteed) "Ask the man owns one" was the company's slogan right up to the end of its activities. Founded in 1899, Packard quickly established itself as one of the leading manufacturers of luxury cars in the United States, with a very wealthy clientele such as the Governor of New York State and future President Franklin Roosevelt, as well as a foreign clientele. Leopold III, King of the Belgians, gave one to his wife Queen Astrid. Built to exacting specifications, Packards were among the finest pre-war American cars. In 1936, several versions of the Super 8 were produced between 1935 and 1937, including sedans, coupes and convertibles. Packard was the first manufacturer to offer air conditioning. Technical specifications Dimensions and weight : - Length: 5,240 mm (206.3 inches) - Width: 1,880 mm (74 inches) - Height: 1,750 mm (68.9 inches) - Wheelbase: 3,475 mm (137 inches) - Curb weight: approx. 2270 kg (5,000 lbs) Engine : - Type : L-Head (Flathead) 8 cylinders in-line - Displacement: 5,237 cc (320 cubic inches) - Maximum power: 130 hp (97 kW) at 3,200 rpm - Torque: 292 Nm (215 lb-ft) at 1,800 rpm - Fuel supply: single-barrel carburetor - Cooling: liquid French registration. With technical inspection. Restorations.

Lot 58

Estim. 200 - 300 GBP

Huguette de BOSQUE). Models of children's books. (France, circa 1950). Huguette de BOSQUE). Models of children's books. (France, circa 1950). Two different sets: one with 27 gouaches, size 32.8 x 25.2 cm, each accompanied by a handwritten text in French, plus four gouaches of the same size, plus pencil sketches on tracing paper (30), plus four gouaches (later improved drafts); the other with 30 smaller-format gouaches, 20 x 15 cm, cellophane-protected and mounted in makeshift marie-louise, accompanied by a text in English on loose sheets. A more disparate set of gouaches by the same author is included. Finished model of a 1950s children's book. What we assume to be the author's name appears on a kraft envelope attached to the set. The French version is the most beautiful: it includes thirty full-page, luminous gouaches on colored backgrounds, very typical of the period, but with a certain charm that evokes a slightly conventional wonder that heralds certain mass productions intended to appeal to the greatest number, such as those by Walt Disney. The story is set in the underwater world, and the graphics are irresistibly reminiscent of Disney Studios' The Little Mermaid. The English version takes up the same story, but the size of the gouaches is a little reduced (they've all been redrawn). While the illustrations are not lacking in interest, the text on the other hand is uncharacteristically silly: three young fish decide to attend a Water King's ball, get a little lost, end up seeing the king, the queen, the orchestra, run away, get lost, get scared... What an adventure! What an adventure! If the book has been published in either French or English, it's likely that the text has been revised and "muscled" to give it a vigor it lacks. The illustrations, on the other hand, deserve to be retained, as they bear witness, with a certain talent, to the evolution of the popular children's book in the 1950s, a hesitant period that abandoned the graphic audacity of the 1930s in search of a wider audience that would soon be captured by cinema and television.

Lot 6

Estim. 9 000 - 10 000 GBP

CARLOS MATA (Palma de Mallorca, 1949 - Barcelona, 2008). "Horse S/T", 1997. Cast iron. Unique piece. Attached certificate issued by Margarita Yarmats, last sentimental companion of the sculptor. Signed on the base. Measurements: 33 x 30 x 13,5 cm. The equine theme was predominant in the singular work of Carlos Mata. The basic forms to which this sculpture subsumes (it should be noted that this is a unique work, with no other examples) are rooted in the ancient Mediterranean civilizations, in the cradle of our culture. Iron, in his hands, is endowed with an extemporaneous patina, archaic and avant-garde at the same time. In his sculptures, Mata was always faithful to this reduction of objects to their essence and of silhouettes to pure lines. It is precisely this purity that makes the warmth of the iron texture shine even brighter, competing in prominence with the shape of the piece itself. Mata opted for bronze or iron to reflect the warmth of manual labor, with its arid and irregular, rough surfaces, inviting to touch, and also with its fluid, soft, rounded crevices. Sculptor, painter and engraver, Carlos Mata studied Fine Arts in Barcelona and Paris, cities between which he has shared his residence since his formative years. He held his first solo exhibition at the Canalls gallery in Sant Cugat del Vallés in 1976, and this first exhibition was followed by others in Barcelona, France and Germany. Among his most recent exhibitions are those held at the Kreisler gallery in Madrid, Casal Soleric in Palma and Can Marc in Girona. His sculptures in unpolished cast iron take advantage of their austere and rough qualities in figurative stylizations of a certain primitivism and archaeological evocation, generally taking as a theme animals, such as bulls or horses. The same schematic intention can be seen in his painting, of a neo-figurative, planist type, with a contained and reduced chromatic range. In 2008, as a posthumous tribute, an important anthology of his work was held at Haras du Pin, in Normandy, France. It was a retrospective consisting of 35 bronze horses, in addition to his jewelry collection.

Lot 252

Mise à prix 60 EUR

Emmanuel CHABRIER . 4 L.A.S. and 1 L.S., 1891-1893, to M. and Mme Henri BRUSSEL, 1891-1893; 8 pages in-8 and 2 pages in-12, envelopes. Paris March 20, 1891... "Since you're willing to plaster yourself all over my poor big daddy of a son, be punished where you've sinned! I give him to you!"... April 14, 1891. There's no question of the boys going out alone at night... "Let Robert come on Saturday [...] I'll watch his little piece of music with him; he'll have dinner with us [...] we'll take a carriage to Erard's", and we'll take him home... January 1, 1892. Letter of good wishes, wishing M. Brussel a speedy recovery: "Let's hope at last; if we didn't have hope, we'd be breaking our heads over the walls! Chabrier expresses his joy at finding his son Marcel: "I embraced him like a fool"... Then, about his work on Briséis: "I'm getting fed up with grumbling all the time; I was going round in circles, I wasn't changing anything, people were taking an excellent man for the antichrist, ah! it's bothering me [...] La Membrolle and the horrible weather there, don't you think I'm going to be able to do anything about it? La Membrolle, with its horrible weather, is not Mohammed's Paradise, but what can I say, I work there quietly and Paris wears me out"... He would like to go to Algiers: "I've worked hard enough in my life, I wouldn't mind a bit of ecstasy. - Alas, where the goat is tied, it must graze"... March 27, 1893. He would like to take Robert to La Membrolle: "I'll show him the salon where I composed España, La Sulamite, À la Musique, Gwendoline, Le Roi malgré lui, the orchestrated 1st act of Briséis, the Bourrée fantasque, the Pièces pittoresques p. piano, etc... I'll probably have a little thrill going in! December 30, 1893 [letter written by Alice Chabrier, signed by herself and Chabrier], after the premiere of Gwendoline at the Opéra (December 27): "Yesterday's evening was quite decisive: even greater success"... Attached is a bill a.s. in pencil, February 19, 1891 (1 p. in -8, envelope), to Robert Brussel.

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