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534325 Los(e)/Seite
Los 100A
A pair of Edwardian Arts & Crafts loaded silver candlesticks in the manner of Charles Voysey, of square tapering form on splayed foot, embossed with riveted strap design, with shallow dish-form grease-pans, James Dixon and Sons, Sheffield 1908, 22cm high One stick dented on one corner; some light bending of rim of grease-pan
Los 361
An 18th century Chinese blue and white bowl painted in underglaze blue with branches of fruiting peach and pomegranate, the base with double fish mark also in underglaze blue, Kangxi period (1662-1722) 14 cm diameter x 7 cm high to/w a 19th century Chinese blue and white gu-form beaker vase of typical form, the swollen central section painted with floral panels on prunus cracked ice ground between key-fret banding and ascending/descending lappets, the base with four character Kangxi mark, 29.5 cm high and Chinese blue and white shallow bowl decorated with a horse and figures in a pagoda landscape, probably a narrative scene, four-character 'precious collection' base mark, late Qing, 23.5 cm (3)The Chinese blue and white shallow bowl with approx 4 x 4 cm section or restoration at the 8 o'clock position of the rim, affecting the horses head and figure attending the horse, some other glaze irregularities and pin-holing The gu-form vase with 0.5 cm exterior rim chip but otherwise good condition with some other light handling wear only The bowl with a 5 cm hairline extending down from the rim, visible on the interior and exterior, approx. 5 cm long, also with some other small rim chips and frits
Los 363
A pair of Chinese blue and white gu-form vases, late 19th or early 20th century, each painted in underglaze blue with dragons and flowers on a crackled ground, with brown iron-dust banding around the rim and foot, brown Chenghua base marks, 20.5 cm high to/w a 19th century Chinese blue and white cylindrical vase with four-character Kangxi mark, painted with elegant ladies and perching birds in fenced garden landscapes, 20.5 cm high, all late Qing dynasty (1644-1912) (3)Cylindrical vase with small glaze irregularity at the rim, otherwise all good condition with general light wear commensurate with age
Los 364
A Chinese Langyao type vase in the 18th century Kangxi style, the compressed body and cylindrical neck covered with a variegated crushed strawberry glaze thinning to a mushroom hue around the rim, 29.5 cm high Light surface wear only, otherwise good condition with the glaze stopping short of the roughly finished footrim and base
Los 365
A pair of Chinese blue an white gu-form beaker vases in the Kangxi style but probably 19th century, late Qing dynasty, painted in rich tones of under glaze blue with scholars, dignitaries and playful children in garden landscape settings, the swollen central sections with key-fret banding, each base with central double circle mark, 37.5 cm high One vase with large area crudely repaired, the other in good condition with light surface wear
Los 370
A 19th century Chinese famille rose circular dish, decorated with a central design of scholars implements and sacred symbols; the rim with floral and peach designs; 40 cm diameter. The base with blue six-character mark of The Kangxi Emperor, but not of the period, late Qing dynasty Provenance: The Property of a Lady. From a Private English Collection. The iconography on this dish is typical of the designs found on wares from the Qing era. For circular panels depicting scholar's implements, for instance, see the bowl given by Soame Jenyns to the era of The Xianfeng Emperor (Later Chinese Porcelain, plate CXIV). The peaches here, of course, symbolise the Daoist Quest for The Orchard of Immortality, the residence of Xiwangmu, and the importance of Mount Kunlun.Some wear to the red banding around the rim and generally light wear to enamels, not chipped, cracked or restored
Los 407
A pair of 19th century Chinese famille rose bowls, Tongzhi (1862-1874) or Guangxu (1875-1908) period, late Qing dynasty, each interior with central peach and bat roundel, the exteriors painted with chrysanthemum, prunus, peony and lotus in polychrome enamels with iron red endless knot mark to each base, 16 cm diameterone bowl with hairline down from the rim, light wear to enamels
Los 425
A pair of 19th century Chinese vases, danping, late Qing dynasty, each vase well decorated with a variety of shaped panels painted in polychrome enamels with extensive idyllic landscapes, birds perching amongst blossoming branches, the female Daoist Immortal He Xiangu floating on red clouds and fire breathing Qilin, all reserved against a powder blue ground, four character Kangxi mark to each base, 46 cm high One vase with small chip to outside of the rim, the other with a large circular shaped repair to the body, both with light surface wear and some wear to enamels
Los 427
A pair of Chinese 19th century famille verte rouleau vases in the Kangxi style, painted with a mirrored design of the eight Daoist Immortals in polychrome enamels below key-fret, diaper and floral banding around the necks and shoulders, each base with underglaze blue double circle mark, Qing dynasty, 44 cm highone vase with two small chips to the underside of the rim, both with light surface wear, wear to enamels and imperfections within the glaze including some pin-holing
Los 432
A 19th century Chinese famille rose jardiniere, painted in polychrome enamels with elegant ladies at leisure in a fenced garden landscape setting, the reverse with calligraphic inscription, late Qing dynatsy, 27 cm diameter x 18 cm high Hole in the centre of the base, some areas of light wear to enamels, glaze/firing imperfections, vestigial rim gilding
Los 549
A Shelley china 'Georgian' pattern dinner/coffee service, comprising six each 28/24 cm plates, four soup bowls and six saucers, coffee cans, saucers and side plates, to/w two tureens and covers, two 33 x 26 cm platters, 42 x 34 cm meat dish, pair of tureens and covers, 24 cm bowl and three 16cm bowls, coffee pot, milk and sugar, pair of gravy boats (58 pieces) - note: dinner service 'Georgian Green' and coffee service 'Georgian Pink'Generally good condition commensurate with light use; some knife-scratches on plates; largest meat-plate cracked
Los 833
A Victorian rosewood library/centre table, the rectangular top with rounded corners over a plain frieze raised on turned acanthus column end supports to moulded feet and concealed castors, 145 x 65 x 72 cm high - good original and unrestored, the top displaying a multitude of light surface scratches, indents and marks commensurate with age and use, areas of tarnish.ring marks, the base similarly patinated
Los 863
A 19th century French fruitwood dining table, the four plank top over two frieze drawers to one side, raised on square tapering legs, 231 cm x 89 cm x 77 cm h (to underside of frieze 59 cm - top overhang approx. 7/8 cm all-round) - good general original condition, top displaying multiple light scratches and marks through age and use, some water / light burn marks, no worm, drawers original
Los 1049
Various LED solar fence lights, spiral LED candle lanterns, five light source high power head lights, solar powered LED wall light, a Globrite moon lamp, a heavy duty adjustable pull up bar, various stringe lights, etc. (2 shelves) Note: VAT is payable on the hammer price of this lot at 20%
![Arthur CollinsTHE PEERAGE OF ENGLAND, 6 VOLSLondon: W Innes etc, MDCCLVI [1756]THIRD EDITION, 8vo, full polished calf, pencil](https://cdn.globalauctionplatform.com/eb6e9d57-bfe2-4122-9544-aeab00dd00fd/6c2548b2-7e8c-4a01-8225-aeac00bdfda2/468x382.jpg)
Los 268
Arthur CollinsTHE PEERAGE OF ENGLAND, 6 VOLSLondon: W Innes etc, MDCCLVI [1756]THIRD EDITION, 8vo, full polished calf, pencil notes in indices, light toning to some pages; Vol I, part 1: [vi] + 449pp; Vol I, part 2: 449 - 822 + [ii] index; Vol II: iv + 525 + [i] index pp; Vol III: [ii] + 768 + [ii] pp; Vol IV: [ii] + 514 + [ii] index pp; Vol V: vii + 524 + [ii] index + [xxii] addenda; wear to boards, hinges and spine as well as head- and footcaps, bookplate, Vol I, part 2: ffep loose; Vol III: loss to spine(6)
![Sir Walter ScottWAVERLEY NOVELS, 47 VOLSEdinburgh: Adam and Charles Black, MDCCCLX [1860]Small 8vo, half bound in green moroc](https://cdn.globalauctionplatform.com/eb6e9d57-bfe2-4122-9544-aeab00dd00fd/ada42ecf-96c1-41fc-86a3-aeac00be0182/468x382.jpg)
Los 269
Sir Walter ScottWAVERLEY NOVELS, 47 VOLSEdinburgh: Adam and Charles Black, MDCCCLX [1860]Small 8vo, half bound in green morocco, frontis in all books, volume 30 absent, boards and text block edge marbled, text block edge waxed, wear to edges and corners of boards, light foxing, including amongst others Ivanhoe & Rob Roy(47)
![John OgilbyCABO DE BONE ESPERANSELondon: Ogilby, (1670)[1670]Copperplate engraving, centerfold, age toned, light foxing; fram](https://cdn.globalauctionplatform.com/eb6e9d57-bfe2-4122-9544-aeab00dd00fd/ee31e70d-bc0f-4018-b737-aeac00be0bd6/468x382.jpg)
![Brian KensleySEA-SHELLS OF SOUTHERN AFRICACape Town: Maskew Miller, 1973DE LUXE EDITION, SIGNED, LIMITED 81 of 100, 8vo, [ii]](https://cdn.globalauctionplatform.com/eb6e9d57-bfe2-4122-9544-aeab00dd00fd/3edba9d2-68a0-4dba-a297-aeac00be8a50/468x382.jpg)
Los 294
Margaret M Smith & Phillip C Heemstra (eds)SMITHS' SEA FISHESJohannesburg: Macmillan, 1986FIRST EDITION, SIGNED BY MARGARET SMITH, 4to, xx + 1047pp, 144 plates, blue boards with dust jacket, light toning to top of text block, light wear to dust jacketAccompanied by ICHTHOS December 1987 Newsletter with tribute to Margaret Smith
![Matthaus MerianNOVA TOTIUS TERRRUM ORBIS GEOGRAPHICA ACHYDROGRAPHICA TABULAFrankfurt: Matthaus Merian, (1638)[1638]Copperplat](https://cdn.globalauctionplatform.com/eb6e9d57-bfe2-4122-9544-aeab00dd00fd/bbde71ea-fe88-4bc6-9a6c-aeac00bece8d/468x382.jpg)
Los 300
Matthaus MerianNOVA TOTIUS TERRRUM ORBIS GEOGRAPHICA ACHYDROGRAPHICA TABULAFrankfurt: Matthaus Merian, (1638)[1638]Copperplate engraving, full colour, centrefold, toning behind windowmount, light foxing; verso: blank, paint show through, notes in pencil, top and upper corners attached to windowmount, three short tears within border repaired; framedFrom Pierre d'Avity's Archontologia Cosmica25 by 35,5cm (neatline)
Los 307
Jan JanssonTABULA ANEMOGRAPHICA SEU PYXIS NAUTICA VENTORUM NOMINA SEX LINGUIS REPRAESENTANS[Wind Rose, Anemographic, or Map of the Winds]Amsterdam: Jan Jansson, (1650)[c1650]Copperplate engraving, full colour, centrefold, age toned with light strip along centrefold, pencil note in margin, damp mark in bottom right corner within border, light foxing; verso: Dutch text, 5cm closed tear 3cm within neatline; framedFrom Jansson's Atlas Maritimus or Atlantis Majoris43,5 by 54,5cm
Los 355
signed, dated 2017, titled and numbered 7/10 in pencil in the marginetchingsheet size: 48 by 47,5cm, unframed Within this artwork Blom explores the seminal forces which shaped him as an artist, primarily focusing on his acute dyslexia. The written language was something Blom considered to be out of his reach (because of his dyslexia) and he was extremely self-conscious of his inability to write (Stefan Blom, 2022). It was quite painful for me. There was absolutely nothing I could do about it. Despite the fact that I was trying to learn more, it just wouldn't get better. So, for every single event, whether good or bad, I started making little symbols (Stefan Blom, 2022). Thus, from his frustration, Blom created his own pictographic alphabet. Blom used this new language, which only he could understand, to "express himself and recorded significant life events" (Stefan Blom, 2022). Blom's alphabet allowed him to put to rest the traumas that haunted him throughout his childhood and it is encapsulated in this artwork. Blom's work has been displayed both nationally and internationally. In 2017, Blom won the Tollman Bouchard Finlayson Art Award for into the light fantastic, which forms part of a bigger body of work, A life Story. One of the etched plates from A life Story is owned by the Zeits MOCCA.Artsy.net. 2022. Stefan Blom | A Life Story (2019) | Available for Sale | Artsy. [online] Available at://www.artsy.net/artwork/stefan-blom-a-life-story-3?msclkid=3b13af42d12e11ec89b31cd51b7cbe5d> [Accessed 11 May 2022].Berman Contemporary. 2022. Stefan Blom | Series | A Life Story | Berman Contemporary. [online] Available at://bermancontemporary.com/series-stefan-blom-secret-language/?msclkid=37901e7ed13311ec9667ee1ccaf2b5ee> [Accessed 7 May 2022].Stefanblom.co.za. 2022. Biography Stefan Blom. [online] Available at://stefanblom.co.za/biography/msclkid=378e9dbad13311ec9fde75e03e419b18> [Accessed 11 May 2022].
Los 526
six-colour gravure print68,5 by 68,5cm; 78,5 by 78,5 by 4,5cm including framing The butterfly in the art of Damien Hirst I always say my work is about life, but I don’t know, I suppose it does dwell on the dark side – Damien Hirst Hirst’s use of the butterfly in his artworks draws and expands upon the shared cultural meaning that these creatures symbolise in the human psyche. Light, beautiful, ephemeral, butterflies have caught the imagination of human beings throughout time. Representative of the human soul for the ancient Greeks and Chinese Daoists, the butterfly later became a symbol of the resurrection of Christ and an icon for the possibility of regeneration and renewal. By the 17th century, the changes brought about by early capitalism and the dawning industrial revolution saw artworks such as Vanitas Still Life, by Dutch artist Maria van Oosterwijck, and Gainsborough’s The Painter’s daughters Chasing a Butterfly, introduce the butterfly as a cautionary symbol. The 20th century saw the butterfly take on yet another layer of symbolic meaning. Amid the harsh realities of a post-World War II world, a brutal take on the seemingly innocent Victorian-era hobby of butterfly collecting saw controversial French artist Jean Dubuffet using the ripped-off wings of butterflies in his artworks. Critics were scathing, but the notion of the butterfly as symbolic ‘harbingers of disaster’ appeared to take root. The work of Damien Hirst incorporates and expands on all these themes, bringing them very much into the 21st century. Hirst uses butterflies to explore the borderlands between life and death, religion and science, beauty and horror. His first controversial solo exhibition, In and Out of Love, was followed in 2006 by I am Become Death, Shatterer of Worlds, an epic work of two thousand seven hundred pairs of real butterfly wings arranged in an explosion of colour reminiscent both of cathedral stain-glass windows and the awe-full beauty of an atomic detonation. The work on offer here, lot 526 is a section of Hirst’s kaleidoscopic black butterfly-patterned wallpaper created from his painting Valley of Death, executed in 2010. Hirst’s 2021 Relics and Fly Painting exhibition at Gagosian’s Britannia Gallery saw the interior walls of the exhibition space clad floor to ceiling with this wallpaper. In its complexity of overlapping black butterfly wings with highlights of iridescent blue, it is at once dark and transcendent – a masterful balance of Hirst’s major themes. “Damien Hirst is an artist whose incredible gift has been to find deep poetry and philosophy for the way we live our lives in the most direct re-workings of pre-existing objects and media. As he himself has declared, ‘I think I’ve got an obsession with death, but I think it’s like a celebration of life rather than something morbid. You can’t have one without the other.’” (Hirst & Burn, pg 21) J.J. White, Katie, A Brief, Fluttering History of Butterflies in Art, From Symbols of Regeneration to Reminders of the Fleetingness of Life, March 18, 2022news.artnet.com/art-world/a-history-of-butterflies-in-art-2085638 accessed 30 May 2022Matthew Wilson, Butterflies: The Ultimate Icon of our Fragility, September 2021bbc.com/culture/article/20210915-butterflies-the-ultimate-icon-of-our-fragility accessed 30 May 2022Christies, lot essay, October 2010christies.com/en/lot/lot-5363059Patrick Barkham, Damien Hirst’s Butterflies: Distressing but Weirdly Uplifting theguardian.com/environment/2012/apr/18/damien-hirst-butterflies-weirdly-uplifting accessed 20 May 2022Hirst D, and Burn G , On the Way to Work, London: Faber and Faber, 2001
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534325 Los(e)/Seite