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Lot 179
A collection of 14 Coalport pot lids and 6 female figurines to include 'Christmas Eve', 'Black Friars Bridge', 'Anne Hathaways Cottage', 'Shakespear's House', 'The Parish Beadle', 'Charing Cross', 'Shakespear's Birthplace', 'Albert Memorial', 'The Maid Servant', St Pauls Cathedral', 'The Waterfall', 'Bear Hunting', 'The Swing' plus one unknown plus display frames and figurines 'Jessica', 'Phyliss', 'Kitty', 'Sylvia', 'Audrey' and 'Joan'
Lot 250
An Inuit Walrus tusk cribbage board the top relief carved with polar bear in trap and walrus head, the centre with drilled holes for cribbage board, a sliding door to one end, opening to reveal a compartment for the pegs (four present), the board on a curved wooden base, approximately 20in. (51cm. ) long. *Condition:in excellent condition, with no issues found, age related wear.
Lot 250
A THIRD QUARTER 18TH CENTURY SCOTTISH DIRK, 36cm blade struck with three marks that bear a resemblance to government marks of a crown over an inverted arrow, characteristic brass mounted hilt, the grip carved with Celtic knotwork, flattened spherical brass pommel cap, contained in its brass mounted leather scabbard with linear and saltire decoration. Companion knife and fork absent.
Lot 345
Kim Mobey(South African 1985 - )signed, dated Dec 2018 and titled on the reverseoil on canvas90 by 60cm EXHIBITED: Sanlam Portrait Awards, Top 40 Paintings, Touring Exhibition, 2019PROVENANCEAcquired directly from the artistKim Mobey is a South African artist born in 1980. She is entirely self-taught and sold her first sculpture through a commercial gallery at the age of 15. She has been working as an artist since the late 1990s, having regularly exhibited her work from 2010 through galleries in Knysna, Hermanus, Johannesburg and Cape Town. In 2017, when she was selected as a finalist for the PPC Imaginarium awards with In This Skin (lot 396), her sculptural work gained wider recognition, was shown at the Turbine Art Fair and the Investec Cape Town Art Fair. In 2019 Mobey’s portrait Nora in Winter made the Top 40 shortlist for the Sanlam Portrait Award. Her primary mode of production is portraiture, which she prefers to render in oils and acrylics. Her portraits are faithful to reality, while communicating the human connection between the artist and her subjects – most often people she knows or has met. She seeks out an immersive and empathetic understanding of them, which she feels is necessary to evolve an authentic practice. Beyond her humanist approach, she is deeply affected by mythology and science. Though her work is rooted in reality and historical fact, she makes generous use of artistic license, fulfilling her compulsion to upturn stereotypical notions regarding aesthetics, gender, race, age or class - and reflecting her desire to challenge fixed identities and how these bear out in society. A driven autodidact and educator, she actively studies and teaches new and traditional technical skills, sculpture, installation, performance, painting and printmaking. Her keen interest in humanity extends to ongoing charitable work. Artist Statement I make art about humanity and the similarities between "us" and "other". I choose subjects and stories that are unlikely to match with expectations or demographics. I choose them because it's when we strip away expectations that we find real connection and meaning. In this way I am constantly disassembling and reassembling identities. I work vicariously but also passively, allowing the image or concept to manifest first then shaping my work and theories around it. I use whatever ideological material is at hand. Like found objects of the mind. In this way I allow myself to be shaped by the practice at least as much as I shape my individual artworks or oeuvre. When I paint a portrait I come close to knowing how gravity feels in someone else’s skin. And I can look at existence for a moment through their eyes. - Kim Mobey, July 2020
Lot 471
Mr. Brainwash(French 1966 - )RESCUE: MONA LISA (PINK)signed; dated 2019 with the artist's thumbprint on the reversescreenprint printed in colourssheet size: 76 by 57cm, unframed Leonardo da Vinci’s portrait of the Mona Lisa (painted in 1503) is easily the most recognisable painting in the world. It remains one of the most visited artworks at the Louvre, one of these reasons is her intriguing smile, which is mentioned as an example of the uncanny in Freud’s book Leonardo da Vinci and a Memory of His Childhood. Easily the most recognisable of all of Jeff Koon’s sculptures, the artist’s ‘balloon dogs’ are actually rendered from mirror finished stainless steel. Koons’ balloon sculptures reflect mass production (2300 editions of of each colour of the balloon dog sculptures are produced in each colour) and mass consumption in a disposable culture. Koon’s artworks are created in a factory-style production house where more than 100 assistants help produce his work. Koons has asserted many times that there is no deeper meaning in his work. Despite the contrasts between Da Vinci and Koons’ work, both are considered very valuable. In 2013 Jeff Koons’ Balloon Dog (Orange) sold on auction for $58.4 million, at the time a record breaking amount for a living artist. In 2019 Mr. Brainwash produced the series of prints, Rescue: Mona Lisa in three different colour options: red, blue and pink. Each is a five colour screenprint and an edition of 70. The prints depict a spray painted image of the Mona Lisa using black paint, a Jeff Koons balloon dog on her lap. The print that we have on offer (lot 471) is printed in the pink version. Through this combination of recognisable art images, Mr.Brainwash juxtaposes a Rennaissance master with his contemporary equivalent. The title Rescue: Mona Lisa (Pink), bears no mention of Koons’ balloon dog, perhaps it is the reproduction of her image, rendered with spray paint with a medium used by street artists in the late 20th century, recontextualising Mona Lisa as a relevant image, an icon who can still hold her own and bear relevance in 2019 when the prints were first created, while a vacuous balloon dog rests in her lap. Yet the artwork itself consists of neither the Mona Lisa, nor one of Jeff Koon’s sculptures, but the artist’s representation and reimagining of images of the two simultaneously, and from a twenty-first century perspective. To Mr.Brainwash, art history is not a linear succession of art movements, all marching one behind the other in the development of what and how art is to be considered, it is rather a network, and in this era, all available, all the time, at his disposal, to be replicated and appropriated into a new art form. Source: Artdependence Encyclopedia.com Mr. Brainwash is the moniker of Thierry Guetta who became well known after the Academy Award nominated documentary about street art, Exit Through the Gift Shop, debuted at the Sundance Film Festival in 2010. There is a point in the documentary where Banksy, the focus of the documentary, turned Guetta’s camera on the graffiti artist who would then go on to find instant success on the Los Angeles art scene. Using the moniker Mr. Brainwash since his first solo show, the artist is known for his provocative art which often makes use of iconic images, which he doctors and subverts, frequently incorporating spray painting techniques, and then produces limited edition prints of the originals, thus bringing graffiti and street art into the gallery space. Mr. Brainwash has designed an album cover for Madonna, worked with the Red Hot Chilli Peppers and exhibited his art all over the world. His sudden rise to fame has led many to speculate whether Mr Brainwash is just the frontman of a long-term prank on the public orchestrated by Banksy. Source: BBC
Lot 472
Mr. Brainwash(French 1966 -)SPRAYCAN AND CATALOGUE FROM THE SOLO EXHIBITION AT THE OPERA GALLERY, LONDON 2012signed; signed on the front coverMr. Brainwash brand spraypaint can; Mr. Brainwash, Opera Gallery, 2012, soft cover, illustrated in full colourcan height: 20cm; catalogue 29,5 by 22cm, unframed (2)EXHIBITEDOpera Gallery, Mr. Brainwash, London, 2012 Lot 472 consists of a spray can and the catalogue from Mr Brainwash’s 2011 solo exhibition at the Opera Gallery in London. The spray can is made from steel and printed with an original label which includes a union jack with a crest and the words “Mr. Brainwash” in a white, cursive font. Although the spray cans the artist produces are designed after the traditional spray cans that the artist used, this can is empty and never contained any paint or gas. The artwork is printed on the can and includes directions for use, warnings that it contains flammable gas and the artwork includes drips and slashes of paint, as you would expect from a real spray can. The can that we have on offer has a blue lid. It is signed in permanent marker by Mr. Brainwash and dated 2012. While Mr Brainwash has made other spray cans, these have red and white print with the paint dripping from the nozzle, down along the can. The cans were made available in ten different colours and a special edition of gold and silver. Each colour was produced in an edition of 700.The can we have on offer is distinct from the cans described above, for the union jack print on the can and the lack of dripping paint, printed with the title of his 2008 solo show in Los Angeles, Life is Beautiful. This spray can was made for Mr. Brainwash’ solo show at the Opera Gallery. The catalogue is printed in full colour, and features the artist’s print of Queen Elizabeth II in her youth, holding one of Mr Brainwash’ spray cans that bear the Union Jack, this one features a red nozzle, which usually indicates the colour. Behind her, the symbol for anarchy has been sprayed, suggesting that it was sprayed by the young queen herself. The original work is a beautifully rendered oil on canvas painting. Apart from a brief biography, the catalogue is devoid of any essays or artist’s explanations, just full colour images allowing the work to speak for itself. Many of the images included in that exhibition reference artists who have both incorporated Pop Art and icons who have become emblems of Pop Art, included in the work Mr Brainwash produced for his first British solo exhibition. Source: Mr Brainwash Opera Gallery Mr. Brainwash is the moniker of Thierry Guetta who became well known after the Academy Award nominated documentary about street art, Exit Through the Gift Shop, debuted at the Sundance Film Festival in 2010. There is a point in the documentary where Banksy, the focus of the documentary, turned Guetta’s camera on the graffiti artist who would then go on to find instant success on the Los Angeles art scene. Using the moniker Mr. Brainwash since his first solo show, the artist is known for his provocative art which often makes use of iconic images, which he doctors and subverts, frequently incorporating spray painting techniques, and then produces limited edition prints of the originals, thus bringing graffiti and street art into the gallery space. Mr. Brainwash has designed an album cover for Madonna, worked with the Red Hot Chilli Peppers and exhibited his art all over the world. His sudden rise to fame has led many to speculate whether Mr Brainwash is just the frontman of a long-term prank on the public orchestrated by Banksy. Source: BBC
Lot 520
nwana Made from two basic elements, a cylindrical body and a skirt, the cylinder covered in fabric and strings of beads tightly would around it below a panel of beadwork, face marked by three buttons for eyes and mouth, earrings made of loosely wound strings of beads, the skirt is a small version of the xigejo (Lot 516), bracelet and metal ring These figures are neither dolls nor representations of children but embodiments of adult women who will bear the child; hence all these figures are dressed as adult married women. Given the links to fertility, the child figure is made at the time of a young woman’s engagement and taken to her marriage home. 19cm high by 18cm wide LITERATUREBecker, R. "ku veleka vukosi… to bear children is wealth..."Tsonga figures in Nel, K. ,Leibhammer, N., Dell. E. Evocations of the Child. Fertility Figures of the Southern African Region, 1988, Johannesburg: Art Gallery, 118-129 PROVENANCE Annelle Zaloumis Collection, 2013
Lot 884
Seated in Vajrasana on a double lotus throne, the legs crossed with the soles of the feet turned upward, the left hand open on the lap, the right with outstretched fingers reaching down towards the earth in Bhumisparsha mudra, clad in monastic robe with the right shoulder exposed, the serene face with downcast eyes and gently smiling mouth surmounted by a shaped protuberance at the crown, Ushnish, the pendulous ears touching the shoulders, age wear, extensive pigment and lacquer loss, traces of paint 57cm high Statues such as this, depicting the historical Buddha seated with his hands in the 'Bhumisparsha' or ‘the earth witness’ mudra, are particularly revered, capturing as they do his moment of spiritual awakening. History has it that after several years of rigorously pursuing various and often extreme practices in his quest to know the true nature of reality, Siddhartha Gautama finally understood the answer lay in nothing outside of himself, but rather in the conquering of his mind. Turning to meditation, he seated himself in a lotus position under the Bodhi tree, determined to not move until his search was answered. After a long night, legend has it that Mara, the demon king, came with an array of temptations to distract Guatama, all of which failed to move him. Enraged, Mara claimed the seat of enlightenment rightfully belonged to him, as witnessed by his vast armies of soldiers. Taunting Siddartha, he asked, ‘who will speak for you?’ In response, Siddartha reached his right hand down to touch the earth, and it is believed the earth itself responded, ‘I bear you witness!’ With those words Mara and his legions disappeared, and with the dawning of the new day Siddhartha reached enlightenment to become the Buddha – one who is awakened. In addition to the mudras, the head of the Buddha also receives careful attention from the sculptor as it represents the spiritual centre or consciousness. The eyes are always half-closed and downcast, the smile serene. The protuberance at the crown represents enlightenment, and the elongated earlobes are symbols of wisdom.
Lot 4
FIVE SMALL ROYAL WORCESTER PLATES AND TWO SCENT BOTTLES PAINTED WITH BIRDS, the larger scent bottle and plates signed W. Powell, both scents decorated with goldfinches, the plates with Wren, Robin, 'Missel Thrush', Nightingale and Bluetit, various printed and painted marks, plates diameter approximately 12cm, scent bottles approximate heights 10cm and 8.5cm (7) Condition report Robin plate has some crazing in the glaze. The 'Missel' Thrush plate has a plain gilt edge unlike the others and it also has wear. The scent bottle with stopper is in good condition although the cork has been glued into the stopper. The flattened flask scent bottle has no stopper but is in good condition. Both scent bottles bear Worcester marks. The flattened flask has light wear to the gilding where it rests on a surface. The other scent bottle has some light wear to the gilt stopper
Lot 285
A SILVER PHOTOGRAPH FRAME 19cm wide x 23cm high together with a white metal and mother of pearl mounted child's rattle in the form of a bear, a lacquered box decorated with chinoiserie scenes, a Royal Doulton stoneware tobacco jar, a set of postal scales, silver plated stand or salver, a Clarice Cliff 'Fantasque' art deco stepped vase 15.5cm high, a Poole pottery bowl decorated with flowers and a Poole pottery dish decorated with vegetables Condition: the photo frame with various dents and of thin construction; the lacquered box with losses and damages overall; the Clarice Cliff vase with a hairline crack and some loss to the glaze to one side, a chip to the rim and to the other side, further hairline cracks and generally poor condition; the Poole pottery items in reasonable condition but with marks to the inside of the bowl; the stoneware tobacco jar in seemingly good condition; the silver plated tray with oxidisation; the rattle with one bell part missing, the other bell missing altogether; the postal scales with marks, dents and scratches and oxidisation to the metal components
Lot 460
Group of three reproduction sport posters printed by Caixa d'Estalvis del Penedes / Penedes Savings Bank, most likely for Barcelona Olympic Games in 1992. 1. 1980 XXII Summer Olympics in Moscow featuring a great illustration of a smiling bear - Misha the Moscow Olympic Games mascot - wearing an Olympic Rings belt on a pink background. ; 2. Original vintage sport poster for the 1980 XXII Summer Olympics in Moscow featuring a great illustration of several multicoloured flags rising out of a stadium surrounded by colourful patterned architecture and nature. Small logo below for Caixa d'Estalvis del Penedes / Penedes Savings Bank.; 3. Original vintage sport poster for the 1980 XXII Summer Olympics in Moscow featuring a great illustration of several cyclists racing around a track at close quarters. Small logo below for Caixa d'Estalvis del Penedes / Penedes Savings Bank. Very good condition, minor creasing. Country of issue: Spain, designer: Unknown, size (cm): 61x41, year of printing: 1990s
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93468 item(s)/page