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396325 Los(e)/Seite
Los 2031
A Chinese bronze and Champlevé enamel two-handled vase,19th century, of bottle form, worked with a band of Taotie masks above lappets, 31cm high; together with a circular bronze plaque decorated in relief with cranes and a tortoise beside pine and bamboo, 11.5cm diameter, (2). Condition Report Some losses and pitting to the enamels. No base plate.
Los 333
Alice Paz Untitled, 2000 TBC Signed verso 10 x 15cm (3¾ x 5¾ in.) Alicia Paz's paintings, collages and standing figures deal primarily with identity and the notion of a divided subject/author, and explore the mutability of subjectivity. Paz focuses on the female figure: the Self is experienced and presented as multiple, paradoxical, and in flux. Inhabiting fantastical and exotic landscapes, Paz's feminine subjects become fused and combined with organic life. Strange and unsettling visions of tree-women and monster-women also represent the fusion of the Subject with painting itself: she often depicts amphibian or plant-like figures "weeping" pigment, their limbs, hair, and various ornamental accoutrements mud-caked and dripping, as if extracted from a colourful, post-cognitive swamp. Her work at times incorporates elements taken from the applied and decorative arts, using these registers as a vehicules for intertwining narratives. Other recent subjects include cultural hybridity and representations of family, exploring the complexities of kinship and lineage in a globalized world. Education Paz graduated from U.C. Berkeley, ENSBA-Paris, Goldsmiths College, and Royal College of Art, London. Exhibitions Alicia Paz is currently exhibiting her work at the FRAC Ile de France, Château de Rentilly, as part of the group exhibition ""Le Cabaret du Néant"". Up-coming projects include "Life Stories", a group exhibition at Chatsworth House, UK, and a solo presentation at the Maison de l'Amérique Latine in Paris. Collaborative projects scheduled for 2021 include a show at the Beecroft Gallery in Southend-on-Sea, as part of Metal's Thames Estuary Festival, as well as at 20-21 Visual Arts Centre in North Lincolnshire, UK. Paz has had several solo exhibitions in the UK, France, Germany, Mexico, and Argentina, most recently at the Museo Leonora Carrington in San Luis Potosí, Mexico (2019), and also at Kunstmuseum Magdeburg, Germany (2016). The latter was accompanied by a 96-page bilingual monograph published by Verlag für Moderne Kunst, Vienna. As a multi-cultural artist, Paz's work was included in the group exhibit Tous, des sang-mêlés, held at MACVAL, Vitry-sur-Seine, France (2017). Earlier solo projects include an exhibit at Dukan Gallery in Leipzig (2014), Mexican Cultural Institute in Paris (2013), Pippy Houldsworth Gallery, London (2006) and Ruth Benzacar Gallery in Buenos Aires (2005). A semi-retrospective exhibit of her work was featured in L.A.C. Sigéan in collaboration with FRAC Occitanie (2010). Paz has also participated in various international painting survey exhibits such as Heute. Spektrum. Malerei. at Kunstmuseum Magdeburg (2012) as well as Slow Magic, Contemporary Approaches to Painting at the Bluecoat Gallery, Liverpool (2009). Between 1997 and 2002 Alicia Paz was represented by Espace d'Art Yvonamor Palix (Paris, Mexico City) along with artists Orlan, Sandy Skoglund, Aziz + Cucher, Studio Orta, and Duncan Wylie, among others. Paz's work is part of various international public and private collections and has been the subject of numerous catalogues and publications; her work has has been reviewed/featured widely (Art News, Art Press, Modern Painters, Art Forum, Turps Banana, The Guardian, Le Monde, Libération, Beaux-Arts Magazine, New York Times, Reforma, etc...). In August 2017 Paz unveiled a public sculpture commission at Kunstmuseum Magdeburg, titled Insel der Puppen (Island of Dolls), in steel and enamel. About the postcard artworks These are maquettes I developed in preparation for paintings, dating from 2000. For many years I have been interested representations of the ""artist figure"", allegories of painting, and gender relations between subject and author.
Los 334
Alice Paz Untitled, 2000 TBC Signed verso 10 x 15cm (3¾ x 5¾ in.) Alicia Paz's paintings, collages and standing figures deal primarily with identity and the notion of a divided subject/author, and explore the mutability of subjectivity. Paz focuses on the female figure: the Self is experienced and presented as multiple, paradoxical, and in flux. Inhabiting fantastical and exotic landscapes, Paz's feminine subjects become fused and combined with organic life. Strange and unsettling visions of tree-women and monster-women also represent the fusion of the Subject with painting itself: she often depicts amphibian or plant-like figures "weeping" pigment, their limbs, hair, and various ornamental accoutrements mud-caked and dripping, as if extracted from a colourful, post-cognitive swamp. Her work at times incorporates elements taken from the applied and decorative arts, using these registers as a vehicules for intertwining narratives. Other recent subjects include cultural hybridity and representations of family, exploring the complexities of kinship and lineage in a globalized world. Education Paz graduated from U.C. Berkeley, ENSBA-Paris, Goldsmiths College, and Royal College of Art, London. Exhibitions Alicia Paz is currently exhibiting her work at the FRAC Ile de France, Château de Rentilly, as part of the group exhibition ""Le Cabaret du Néant"". Up-coming projects include "Life Stories", a group exhibition at Chatsworth House, UK, and a solo presentation at the Maison de l'Amérique Latine in Paris. Collaborative projects scheduled for 2021 include a show at the Beecroft Gallery in Southend-on-Sea, as part of Metal's Thames Estuary Festival, as well as at 20-21 Visual Arts Centre in North Lincolnshire, UK. Paz has had several solo exhibitions in the UK, France, Germany, Mexico, and Argentina, most recently at the Museo Leonora Carrington in San Luis Potosí, Mexico (2019), and also at Kunstmuseum Magdeburg, Germany (2016). The latter was accompanied by a 96-page bilingual monograph published by Verlag für Moderne Kunst, Vienna. As a multi-cultural artist, Paz's work was included in the group exhibit Tous, des sang-mêlés, held at MACVAL, Vitry-sur-Seine, France (2017). Earlier solo projects include an exhibit at Dukan Gallery in Leipzig (2014), Mexican Cultural Institute in Paris (2013), Pippy Houldsworth Gallery, London (2006) and Ruth Benzacar Gallery in Buenos Aires (2005). A semi-retrospective exhibit of her work was featured in L.A.C. Sigéan in collaboration with FRAC Occitanie (2010). Paz has also participated in various international painting survey exhibits such as Heute. Spektrum. Malerei. at Kunstmuseum Magdeburg (2012) as well as Slow Magic, Contemporary Approaches to Painting at the Bluecoat Gallery, Liverpool (2009). Between 1997 and 2002 Alicia Paz was represented by Espace d'Art Yvonamor Palix (Paris, Mexico City) along with artists Orlan, Sandy Skoglund, Aziz + Cucher, Studio Orta, and Duncan Wylie, among others. Paz's work is part of various international public and private collections and has been the subject of numerous catalogues and publications; her work has has been reviewed/featured widely (Art News, Art Press, Modern Painters, Art Forum, Turps Banana, The Guardian, Le Monde, Libération, Beaux-Arts Magazine, New York Times, Reforma, etc...). In August 2017 Paz unveiled a public sculpture commission at Kunstmuseum Magdeburg, titled Insel der Puppen (Island of Dolls), in steel and enamel. About the postcard artworks These are maquettes I developed in preparation for paintings, dating from 2000. For many years I have been interested representations of the ""artist figure"", allegories of painting, and gender relations between subject and author.
Los 465
Larissa Lockshin Landscape Sketch, 2021 Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) "Larissa Lockshin is a Canadian-born artist based in Queens, New York. Seeking to challenge the existing associations, categorizations, definitions, and language surrounding art, Larissa Lockshin emphasizes objecthood over image content. Employing printer ink, acrylic, oil sticks, enamel, and chalk, Lockshin creates objects that reach out to the viewer and exist in the liminal space between painting and sculpture. A frustration with the emphasis on performance and conceptual art in her formal education first drove Lockshin to abstraction, and her subsequent work challenges the image's drained value in an oversaturated, digital world. The question of how art can maintain its value as a physical object when most artworks are viewed online impelled Lockshin to create artworks that defy the confines of digital reproduction, countering notions of what painting is through loosely impressionistic, largely unrecognizable forms. Exhibitions Her recent solo and two-person exhibitions include: "Iced Rowanberries", The Newsstand Project, Los Angeles, CA (2020), "Cadmio Limon", curated by Cristina Anglada, Galeria Pelaires, Majorca, Spain (2020), NADA "This is Fair", Melanie Flood Projects (2020), ARCO Lisboa, Galeria Pelaires (2020), ""Mal"" curated by Underground Flower & The Sunroom, Richmond, VA (2020). ""Elephant Heart"" (Solo), Y2K Group, Tribeca, NYC (2019), ""Fashion Club"" (Solo), Thumbelina's, NYC (2019), ""Scarecrow Show"", curated by Abby Lloyd, Dennis Witkin & Hadley Vogel, Watermill, NY (2019), ""Metal Meadow"", Camp Eternal Hell Chamber, NY (2019), Odette, Melanie Flood Projects, Portland, OR (2019), Bad Dream House, American Institute of Thoughts and Feelings, Tucson, AZ (2018); Far Side of the Valley, Albert Baronian, Brussels (2015); Bone Dry, 3434, New York (2016); Close But Not Cigar, Johannes Vogt Gallery, New York (2015). Recent group exhibitions include: Scarecrow Show, The Green Thumb, Watermill, NY (2019); Metal Meadow, Camp Eternal Hell Chamber, Cobleskill, NY (2019); Exit Soul, Liberal Arts Roxbury, Roxbury, NY (2018); Moondog, East Hampton Shed, New York. Gallery Representation She is represented by Galerie Baronian/Xippas in Brussels."
Los 466
Larissa Lockshin Girl Asleep on the Sofa, 2021 Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) "Larissa Lockshin is a Canadian-born artist based in Queens, New York. Seeking to challenge the existing associations, categorizations, definitions, and language surrounding art, Larissa Lockshin emphasizes objecthood over image content. Employing printer ink, acrylic, oil sticks, enamel, and chalk, Lockshin creates objects that reach out to the viewer and exist in the liminal space between painting and sculpture. A frustration with the emphasis on performance and conceptual art in her formal education first drove Lockshin to abstraction, and her subsequent work challenges the image's drained value in an oversaturated, digital world. The question of how art can maintain its value as a physical object when most artworks are viewed online impelled Lockshin to create artworks that defy the confines of digital reproduction, countering notions of what painting is through loosely impressionistic, largely unrecognizable forms. Exhibitions Her recent solo and two-person exhibitions include: "Iced Rowanberries", The Newsstand Project, Los Angeles, CA (2020), "Cadmio Limon", curated by Cristina Anglada, Galeria Pelaires, Majorca, Spain (2020), NADA "This is Fair", Melanie Flood Projects (2020), ARCO Lisboa, Galeria Pelaires (2020), ""Mal"" curated by Underground Flower & The Sunroom, Richmond, VA (2020). ""Elephant Heart"" (Solo), Y2K Group, Tribeca, NYC (2019), ""Fashion Club"" (Solo), Thumbelina's, NYC (2019), ""Scarecrow Show"", curated by Abby Lloyd, Dennis Witkin & Hadley Vogel, Watermill, NY (2019), ""Metal Meadow"", Camp Eternal Hell Chamber, NY (2019), Odette, Melanie Flood Projects, Portland, OR (2019), Bad Dream House, American Institute of Thoughts and Feelings, Tucson, AZ (2018); Far Side of the Valley, Albert Baronian, Brussels (2015); Bone Dry, 3434, New York (2016); Close But Not Cigar, Johannes Vogt Gallery, New York (2015). Recent group exhibitions include: Scarecrow Show, The Green Thumb, Watermill, NY (2019); Metal Meadow, Camp Eternal Hell Chamber, Cobleskill, NY (2019); Exit Soul, Liberal Arts Roxbury, Roxbury, NY (2018); Moondog, East Hampton Shed, New York. Gallery Representation She is represented by Galerie Baronian/Xippas in Brussels."
Los 467
Larissa Lockshin Fruit Plate, 2021 Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) "Larissa Lockshin is a Canadian-born artist based in Queens, New York. Seeking to challenge the existing associations, categorizations, definitions, and language surrounding art, Larissa Lockshin emphasizes objecthood over image content. Employing printer ink, acrylic, oil sticks, enamel, and chalk, Lockshin creates objects that reach out to the viewer and exist in the liminal space between painting and sculpture. A frustration with the emphasis on performance and conceptual art in her formal education first drove Lockshin to abstraction, and her subsequent work challenges the image's drained value in an oversaturated, digital world. The question of how art can maintain its value as a physical object when most artworks are viewed online impelled Lockshin to create artworks that defy the confines of digital reproduction, countering notions of what painting is through loosely impressionistic, largely unrecognizable forms. Exhibitions Her recent solo and two-person exhibitions include: "Iced Rowanberries", The Newsstand Project, Los Angeles, CA (2020), "Cadmio Limon", curated by Cristina Anglada, Galeria Pelaires, Majorca, Spain (2020), NADA "This is Fair", Melanie Flood Projects (2020), ARCO Lisboa, Galeria Pelaires (2020), ""Mal"" curated by Underground Flower & The Sunroom, Richmond, VA (2020). ""Elephant Heart"" (Solo), Y2K Group, Tribeca, NYC (2019), ""Fashion Club"" (Solo), Thumbelina's, NYC (2019), ""Scarecrow Show"", curated by Abby Lloyd, Dennis Witkin & Hadley Vogel, Watermill, NY (2019), ""Metal Meadow"", Camp Eternal Hell Chamber, NY (2019), Odette, Melanie Flood Projects, Portland, OR (2019), Bad Dream House, American Institute of Thoughts and Feelings, Tucson, AZ (2018); Far Side of the Valley, Albert Baronian, Brussels (2015); Bone Dry, 3434, New York (2016); Close But Not Cigar, Johannes Vogt Gallery, New York (2015). Recent group exhibitions include: Scarecrow Show, The Green Thumb, Watermill, NY (2019); Metal Meadow, Camp Eternal Hell Chamber, Cobleskill, NY (2019); Exit Soul, Liberal Arts Roxbury, Roxbury, NY (2018); Moondog, East Hampton Shed, New York. Gallery Representation She is represented by Galerie Baronian/Xippas in Brussels."
Los 277
A collection of Victorian brooches, comprising two gilt metal mourning brooches with hair compartment and enamel decoration, a gilt cameo brooch, emerald set Etruscan revival brooch, set with small emeralds, unmarked possibly 15ct gold with later base metal modifications, along with an agate set brooch and an unmarked yellow metal (assessed as 15ct gold) filigree guitar brooch, weight approx 6.1gms Condition report: overall good- wear and tear to all, stones present and intact in emerald brooch,
Los 286
A collection of jewellery to include a vesta case with folitae engraved decoration and monogram, converted into a pendant along with silver rope twist chain, Victorian and later silver and enamel brooches with metal versions, micro mosaic brooch, gold metal chain, bead necklaces, gents Omac watch etc in a black lacquered style jewellery box
Los 303
A collection of costume jewellery to include vintage clip on earrings, faux pearl necklace, paste set brooches and necklaces, bangles Limoges brooch, vintage Nova ladies watch, gold plated cross and heart pendant, chains and pins, enamel brooches, paste set rings, various ladies dress watches etc ( 1 bag)
Los 304
A collection of costume jewellery to include a pair of vintage Essex crystal type cufflinks featuring a hound, a piece of unmarked yellow metal chain, weight approx 4.3gms assessed as 9ct gold, a vintage paste set pendant in original fitted box, paste set necklace and bracelet, jade bead necklace, weight approx 88.3gms, vintage brooches, earrings, faux pearl, glass and plastic bead necklaces, Berlin cut steel buttons, a Stratton compact, dress studs, agate pill boxes, Chinese enamel and French trinket boxes, two vintage tapestry purses etc 1 bag
Los 307
A 9ct gold 'State' open faced pocket watch, white enamel dial, black Arabic numerals, with subsidiary dial, case diameter approx 48mm, total gross weight approx 86gms cased Condition report: working at time of report, age related wear and tear, denting to case edge and backCONDITION:no inscription denting to casewindsscratches to glassinner curve 9ct golddent to case edgehinges goodshuts with a snap
Los 313
A silver pair case pocket watch, white enamel dial, black Roman numerals and outer seconds track, subsidiary dial, approx 39mm, case London 1885, Charles George Goord, total gross weight approx 121gms Condition report: hairlines to dial, case good, fine scratches and marks but no visible denting, cannot confirm working
Los 347
A 9ct gold pocket open faced watch, white enamel dial with Arabic numerals, diameter approx 40mm, subsidiary dial, case approx 45mm, total gross weight approx 58.6gmsCondition report: Good- winds and working at time of report, wear and tear commensurate with age CONDITION:case small marks to reverseno inscriptiondial goodglass gooddents to case edgeinner curve 9ct gold
Los 348
A French 18k gold ladies half hunter fob watch, outer case with blue enamel and Roman numerals, white enamel dial with Roman numerals and subsidiary dial, case diameter approx 35mm, inner case engraved no.45081 Leroy & Fils. Paris, gross weight approx 39.1gmsCondition report: enamel loss to reverse, small chip to dial, age related wear and tear, working at time of reportCONDITION:working at time of reportwindschip to dial above subsidiary glass goodinner curve goldno inscriptions case edge dents
Los 177
A collection of silverware including two cased sets of salts, a sauce boat, two hip flasks, a toast rack (AF), a glass whisky decanter with silver collar, a glass oil jar with silver pourer, and glass preserve jar with silver lid and spoon, a specimen vase (loaded) and a glass perfume bottle with silver and enamel atomiser, 18.5ozt weighable silver
Los 2010
Puppetry - paper ephemera and documents relating to Joy Laurey and Jonathan Laurey Marionette Company (Members of the British Puppet Guild) comprising Joy Laureys certificate of inoculation against yellow fever, dated 8th November 1944; a quantity of rounded rectangular invitations from the Laurey Puppet Company, York Gate Hall, Broadstairs, some written in pen and some unused (6); a British Actor’s Equity Association voting paper, for the election of members of the 1954-55 council; a real photographic postcard featuring the Gilmore puppets, addressed to Miss Joy Laurey, sent from Canada, dated 9th April 1953; a collection of handwritten journal entries from Joys father from the first seven shows for E.N.S.A. in 1942, with references about their vehicle malfunctions an breaking down in the middle of nowhere for two days running; a Paris tour Eiffel fold out Christmas card, addressed to Joy and written by Bob Bromley (Lido cabaret Champs-Elysees Paris); literature relating to The Circus Fans’ Association of Great Britain including an enamel membership badge, accompanied with letter; other letters etc (quantity)
Los 2238
Advertising, Hudson’s – a late 19th century shaped rectangular enamel sign, depicting a shining lantern with the letters ‘BOK’ (Best of Kind), “For The People In Packets Hudson’s Soap In Fine Powder Established Over 50 Years.”, Chromo W.Hampton (The Chromographic Enamel Co Ltd), Reg. No. 145497, 71cm x 96cm
Los 2239
Advertising, Staffordshire Interest – a large early 20th century rectangular shaped pictorial enamel sign, illustrated in colour with a view of Teeton’s wholesale store from the Stafford Street entrance, “For Value Teeton’s Ltd. Stafford Street Hanley The Great Cash Stores. Railway Fare Paid from This Station on Purchases Of 20/- & Over”, Imperial Enamel Co., 71.5cm x 183cm
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396325 Los(e)/Seite