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66969 Los(e)/Seite
Los 1268
THOMAS BIRCHALL OF NANTWICH, a George III oak and crossbanded eight day longcase clock, the brass 10 inch dial with moonphase automaton movement to arch, spandrels surrounding roman and Arabic numerals, and signature to centre, the dismantled/distressed trunk with multiple loose parts, overall height unknown, height without plinth 171cm (Unkown if complete, ideal for restoration)
Los 333
A COLLECTION OF PORTMEIRION, WADE, ROYAL DOULTON, POOLE, ETC, to include a Portmeirion Greek Key Pattern part coffee set (lacks sugar bowl), gilding worn and some damage, a Devon Ware Fieldings baluster vase printed and tinted with a butterfly and tree trunk design, height 19cm, sounds defective when tapped, a Wedgwood Peter Rabbit baby's plate, two Portmeirion 'Pomona' storage jars and covers, a Royal Doulton Winnie The Pooh clock, and other nursery ceramics, etc
Los 467
A QUANTITY OF BOXED AND UNBOXED HORNBY 0 GAUGE TRACK AND ACCESSORIES, to include boxed No 1 Level Crossing and boxed No 2 Single Arm Signal, assorted boxed and unboxed track and point work, home made wooden station building, all contained in a vintage travelling trunk with assorted labels including a G.W.R Luggage in Advance
Los 618
A QUANTITY OF BOXED L.G.B. G GAUGE ROLLING STOCK, assorted coaches (30730, 31610 and 34640), Post Office Van (30190) and bogie open wagon (44620), with two wagons from the 'Toy Train' range, Dino Transport (94068) and Dynamite Exploding Wagon (94008) both in incorrect boxes, some maybe missing small items, quantity of replacement wheels (still sealed in original packaging) (64703 & 64719), quantity of boxed and unboxed track, all contained in a vintage travelling trunk
Los 622
Rabab musical instrument from Afghanistan. The sound box is carved out of one piece of mulberry wood. It has three melody strings, two or three drone strings and up to 15 sympathetic strings. It will need re-stringing and tuning. 80 x 120cm. Mid 20th c. Notes: Rabab is a lute-like musical instrument originating from Afghanistan. The rabab is one of the national musical instruments of Afghanistan and other areas inhabited by the Pashtun and Balouch people. The body is carved out of a single piece of wood, with a head covering a hollow bowl which provides the sound-chamber. The bridge sits on the skin and is held in position by the tension of the strings. The instrument is made from the trunk of a mulberry tree, the head from an animal skin such as goat, and the strings from the intestines of young goats (gut) or nylon. I have been to the wedding of a close friend in Paktia. There was a orchestra of 3 rabab players, about 200 guests and it lasted 3 days.
Los 310
Antique George Baxter prints in gilt frames depicting scenes of a Lady praying in a chapel and scenes of a lady etc (2). A collection of items decorated with a decoupage/ scraps finish to include a large trunk, a tin and a leather case (3). largest is 66 x 40 x 35cm. Some signs of wear and age. 27 x 23cm.
Los 470
A GEORGE III INLAID OAK 8-DAY LONGCASE CLOCK, the 13-inch brass and steel break arch dial, signed 'Pattison Halifax', painted in the arch with a lady by a cottage, the hood with swan neck pediment and brass orb finials above a pair of tapering columns with a Greek key moulded border below, the case with quarter columns flanking a trunk door with shaped top, raised on plinth base, with pendulum and two weights. 229cm high
Los 471
AN EARLY 19TH CENTURY OAK AND MAHOGANY 30-HOUR LONGCASE CLOCK, the 13-inch painted break arch dial, signed 'Terry Ripon', with date crescent, the hood with swan neck pediment and reeded square section columns, the shaped trunk door inlaid with a conch shell and flanked by reeded pilasters, the panel base raised on bracket feet, with pendulum and a weight. 226cm high
Los 472
A 19TH CENTURY MAHOGANY 8-DAY LONGCASE CLOCK, the 13.5-inch painted break arch dial with subsidiary seconds and date calendar, the hood with swan neck pediment and baluster columns, the shaped trunk door flanked by reeded pilasters, the panel base with bracket feet, with two weights and a pendulum. 240cm high
Los 473
A GEORGE III MAHOGANY 8-DAY LONGCASE CLOCK, the 12.5-inch break arch brass dial, signed 'W Fenton Newcastle', with subsidiary seconds and foliate engraving, the flat top hood with Corinthian columns, the shaped trunk door flanked by blind fretwork carved canted corners, the plain base raised on a plinth. 216cm high. With weights and pendulum
Los 474
AN 18TH CENTURY OAK 30-HOUR LONGCASE CLOCK, the 9.3/4-inch square brass dial signed W Palmer and with single pointer, the centre engraved with scrolling foliage and Ho Ho bird, the applied spandrels cast with Putti holding aloft a crown, the hood with dentil cornice above a pair of turned columns, the trunk with crossbanded and shaped top door, the plain base raised on bracket feet, sold with a pendulum. 219.5cm high
Los 2281
Early 19th century oak cased eight day longcase clock by Barwise, Cockermouth, arched dial with silvered chapter ring with Roman and Arabic numerals, signed to dial, date aperture at six, broken swan neck pediment above turned columns, the trunk with reeded pilasters on plinth base with bracket feet, twin train movement striking a gong on the hour, 219cm high, with pendulum and two weightsCondition Report: Missing part of swan neck pediment. Scratches to dial and plate. Split to plinth base. Scratches and knocks to case. Cracks to hood.
Los 319
Günther Uecker - - 1930 Wendorf - lebt und arbeitet in Düsseldorf Kunstpranger. 1983. Nägel und Asche-Leim-Gemisch auf Holzstamm. Rückseitig unten signiert und datiert. Höhe: 293 cm (115,3 x 37,4 x 29,5 in). Durchmesser: ca. 95 cm (37,4 in). • Die während der Aktion 'Kunstpranger' entstandene Skulptur ist der Erste: Der Ur-Nagelbaum. • Der monumentalste jemals angebotene Nagelbaum. • Seit der Entstehung stets in der Sammlung Deutsche Bank. Dieses Werk ist im Uecker Archiv unter der Nummer GU.83.046 registriert und wird vorgemerkt für die Aufnahme in das entstehende Uecker-Werkverzeichnis. PROVENIENZ: Aktion 'Kunstpranger' bei der Galerie Annelie Brusten, Wuppertal. Sammlung Deutsche Bank (vom Vorgenannten erworben). Der 'Kunstpranger' gehört zu den bekanntesten Skulpturen Günther Ueckers. In einer Aktion mit der Wuppertaler Galeristin Annelie Brusten, die er 1979 während eines Akademie-Rundgangs in Düsseldorf kennenlernt, schafft er ein Mahnmal für die sterbende Natur. Eine von Borkenkäfern befallene Ulme wird im Klophaus-Park gefällt, durch Uecker aber als Kunstwerk konserviert. Die Idee entsteht im Herbst des Jahres 1983, als Annelie Brusten zufällig die Forstarbeiter im Park beim Markieren der 80 Jahre alten Ulme bemerkt. Sie erfährt, dass der kranke Baum gefällt und verbrannt werden soll. Annelie Brusten holt den bereits sehr bekannten 'ZERO'-Künstler und Professor an der Kunstakademie nach Wuppertal: Uecker kommt, markiert einen etwa 3 Meter langen Abschnitt am Stamm und Ueckers Schüler Herbert Koller dokumentiert fotografisch was dann geschieht. Im Park-Pavillon bearbeitet Uecker, auf einer Leiter stehend, über zehn Tage den mächtigen Stamm und bestückt ihn mit einer wehrhaften Krone aus Zimmermannsnägeln. Insgesamt etwa eintausend Nägel mit einem Gewicht von 130 Kilogramm verwendet er für dieses Kunstwerk. Die Asche der verbrannten Baumkrone vermischt er mit Leim, einer Art Heilsalbe, mit der er die Wunden des Baumes verschließt. Es ist sein erster Baum, den er mit Nägeln bearbeitet. Im Park-Pavillon verbleibt die Skulptur 'Kunstpranger' als gleichnamige Ausstellung der dort ansässigen Galerie Annelie Brusten, dem Waldsterben gewidmet - ein Thema, das heute brisanter ist als jemals zuvor. Bei seiner Rede zur Eröffnung der Ausstellung prangert Uecker die Umweltzerstörung durch den Menschen an und erklärt die Nägel zur 'Rüstung', mit der er den Baum 'eingerüstet, ihn stark gemacht' habe. Herbert Kollers Aufnahmen sind nebst handschriftlichen Gedanken Ueckers in dem kleinen Ausstellungskatalog 'Kunstpranger' enthalten, den Annelie Brusten später als Auflage herausgibt. Auch ein Multiple in 35 Schubern mit jeweils einer benagelten Baumscheibe und Kohlezeichnung der Ulme macht die Entstehung des Kunstwerks nachträglich zu einer Art Performance. Mithilfe des damaligen Direktors des Von der Heydt-Museums, Günter Aust, verkauft Annelie Brusten den 'Kunstpranger' nach vier Monaten an die Deutsche Bank. Die Neuerwerbung wird dort über 20 Jahre in der Eingangshalle der Wuppertaler Filiale präsentiert. Der Nagelbaum wird zu einem Thema in Ueckers Œuvre, das ihn nicht gleich wieder loslässt. Noch 1984 folgt ein achtteiliger Wald, ein zweiter und dritter entsteht 1988 und 1991. Günther Uecker ist ein steter Kommentator der Geschehnisse in der Welt, er lebt in der Gegenwart und nimmt aktiv an seiner Zeit teil. 'Die Kunst kann den Menschen nicht retten, aber mit den Mitteln der Kunst wird ein Dialog möglich, welcher zu einem den Menschen bewahrenden Handeln aufruft.' (Günther Uecker, 1983, zit. nach: Kritisches Lexikon der Gegenwartskunst, S. 2). Seine Werke sind Zeugen ihrer Zeit und künstlerischer Protest gegen Zerstörung und Vernichtung. [SM] Aufrufzeit: 18.06.2021 - ca. 17.38 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONGünther Uecker -1930 Wendorf - lebt und arbeitet in Düsseldorf Kunstpranger. 1983. Nails and ashes-glue compound on tree trunk. Signed and dated on the reverse. Height: 293 cm (115.3 x 37,4 x 29,5 in). Diameter: ca. 95 cm (37,4 in). • The sculpture was made in context of the campaign 'Kunstpranger' (Art Pillory) and is the first nail tree ever made. • The most monumental nail tree ever on the market. • Part of Deutsche Bank Collection since it was made. The work is registered in the Uecker Archive with the number GU.83.046 and is earmarked for inclusion into the forthcoming Uecker catalog raisonné. PROVENANCE: Art campaign 'Kunstpranger' at Galerie Annelie Brusten, Wuppertal. Deutsche Bank Collection (acquired from aforementioned). The 'Kunstpranger' (Art Pillory) is one of Günther Uecker's most famous sculptures. In an action with the Wuppertal gallery owner Annelie Brusten, whom he met in 1979 during the academy tour in Düsseldorf, he created a memorial for the destruction of the environment. An elm tree infested with bark beetles was chopped down in Klophaus Park, but Uecker conserved it as a work of art. The idea came up in the autumn of 1983 when Annelie Brusten happened to notice the forest workers in the park marking the 80-year-old elm. She learned that the sick tree had to be taken down. Annelie Brusten called the well-known 'ZERO' artist and academy professor to Wuppertal: Uecker came, marked an approximately 3 meter long section on the trunk and Uecker's student Herbert Koller photo-documented what happened next. In a pavilion in the park Uecker stood on a ladder and worked on the mighty trunk for ten days, equipping it with a defensive crown of carpenter nails. He used a total of around one thousand nails weighing 130 kilograms for this work of art. He mixed the ashes of the burned treetop with glue, as a kind of healing ointment, with which he closed the tree’s wounds. This was the first tree ever that Uecker performed his nailwork on. The sculpture 'Kunstpranger' (Art Pillory) remained in the park pavilion as an exhibition of the same name by the Annelie Brusten gallery and was dedicated to forest dieback - a problem that was more topical than ever at that point. In his speech on occasion of the opening of the exhibition, Uecker decried the destruction of the environment by man and declared the nails to be 'armor' with which he 'equips the tree, in order to make it strong'. Herbert Koller's photographs, along with Uecker's handwritten thoughts, were included in the small exhibition catalog 'Kunstpranger', which Annelie Brusten would later publish in an edition of 35 multiples in slipcases, each with a nailed tree disc and a charcoal drawing of the elmtree, turns the creation of the work of art into a kind of performance. With the help of the then director of the Von der Heydt Museum, Günter Aust, Annelie Brusten sold the 'Kunspranger' to the Deutsche Bank Collection after four months. The new acquisition was presented in the lobby of its Wuppertal branch for over 20 years. The nail tree became a theme in Uecker's oeuvre that the artist would not let go. In 1984 he made an eight-part fores, a second and third one followed 1988 and 1991. Günther Uecker remained an artistic commentator on current events in the world, he lives in the present and makes contributions to the issues of our time. 'Art cannot save people, but with the means of art a dialogue becomes possible which calls for actions that will then protect people.' (Günther Uecker, 1983, quote from: Kritisches Lexikon der Gegenwartskunst, p. 2) His works are witnesses to the urging questions of their days and an artistic protest against destruction and annihilation. [SM] Called up: June 18, 2021 - ca. 17.38 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).
Los 499
A late 18th century oak longcase clock, blind fretwork over the 12" dial flanked by brass capped columns, with silvered brass chapter ring and engraved silver centre, marked Edward Clark, Bruton, with seconds and date, eight day movement striking on a bell, the case with long trunk door over a plain base with raised panel, complete with winder, pendulum and weightsProvenance: purchased by the vendor some years ago from P.A. Oxley, Antique Clocks & Barometers
Los 500
A mahogany longcase clock, the domed dial with moonphase, two subsidiary dials, Arabic minutes and Roman numeral hours, flanked by ormolu corinthian columns, marked Thomas De Lasalle, London, the domed trunk door flanked by further columns, on a fielded panel base, 50cm wide, 24cm deep, 218cm high
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66969 Los(e)/Seite