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Lot 1123
18th century oak longcase clock, projecting dentil cornice over glazed hood door with turned column pilasters, the square dial with silvered chapter ring, signed 'Edward Clementson, Melton', eight day movement striking on bell, H202cm (with two weights and pendulum, the pendulum rod is broken)Click here to view further images, condition reports, sale times & delivery costs for this lot.
Lot 245
A Victorian silver tankard of bell shape with inscription, "Presented by the Town Council of Bury St Edmunds, for the Pen of Three Best Fat Pigs sold in Mr C Lawrence's sale, dated 1882", weight 9.1ozCondition report: Gilt washed interior. No apparent faults but would benefit from a polish. 13cm high. Probably pint sized or similar.
Lot 33
A late Victorian walnut cased mantel clock of architectural form having a circular dial with raised enamelled Roman numerals and eight day cylinder movement striking on a bell, height 29cmCondition report: Dial has a crack and there are marks around winding holes.Case good.Sold as not working.No key.
Lot 38
A late Victorian walnut and ebonised cased dome top mantel clock, the circular enamel dial with Roman numerals signed Vale & Richardson of Bury St Edmunds, the 8 day movement striking on a bell, height 25cmCondition report: No key.Missing glass to front of dial.Case is good.Clock winds and ticks fine.
Lot 258
Various vintage cameras, projectors and other similar items including 'Kodatoy' universal model projector, 'AGFA Isolette II' camera, 'G.B. - Bell & Howell' 624 8mm, Chinon 7x50 field 7.1 vintage binoculars etc, in two boxes, all untested Click here to view further images, condition reports, sale times & delivery costs for this lot.
Lot 506
London & North Western Railway oak cased 3 position platform train ready to start indicator. The indicators are marked TO BIRKENHEAD, TO HOLYHEAD, TO COAL YARD. Complete with bell mounted at the top and traffolite plate UP & DN. NORTH END. Measures 29in x 12in and is stamped at the bottom L&NW No 0.13. A rare signal box instrument, ex Chester.
Lot 732
LNER Sykes Type TS 3 position block instrument, ivorine plated MAIN LINE TO WESTGATE NORTH, MAIN LINE FROM WESTGATE NORTH and PLATFORM LINE BELL FROM WESTGATE NORTH. In very good condition ex Wakefield South signal box stands 22.5in tall. Note these instruments date from WW2 and were built for overseas use, the LNER bought unused stock after the war.
Lot 223
A gilt metal six glass hall lantern in the late 18th century French style, 20th century, bell dome above 6 glass panels within fruit and floral decorated frame, underside with hinged bulb access panel, approximately 71cms high to top of surmount bow, 35cms wide. Condition Report: Will require a clean- and some work to the dome that has discoloured in patches. Some wear from use and colour variances from assembly and cleaning. Some missing screws ELECTRICAL GOODS. These are sold as 'antiques' only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Condition Report Disclaimer
Lot 806
Airfix, Heller, Revell, Other - A collection of plastic model kits in various scales. Lot includes Heller 1:48 Bell OH-58 KIOWA helicopter; DoYusha 1:100 Douglas DC-3 Dakota; Airfix 1:72 Avro Lancaster B.I Bomber and similar. Some models appear part built, some contain parts on sprues as well as missing parts, presented in boxes ranging from Poor - Good. All models are unchecked for completeness. A lot suitable for model makers
Lot 165
Football Manchester City multi signed 12x8 vintage team colour photo 9 legendary signatures includes Oakes, Doyle, Booth, Dowd, Bell, Book, Lee, Summerbee and Young. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 44
Elise Ansel Libica I, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Exhibitions/Awards Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans. Gallery Representation Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City. About the postcard artworks: The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst. I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.
Lot 45
Elise Ansel Libica II, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Exhibitions/Awards Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans. Gallery Representation Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City. About the postcard artworks: The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst. I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.
Lot 46
Elise Ansel Bellini San Zac, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Exhibitions/Awards Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans. Gallery Representation Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City. About the postcard artworks: The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst. I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.
Lot 47
Elise Ansel Van Aelst Detail, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Exhibitions/Awards Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans. Gallery Representation Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City. About the postcard artworks: The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst. I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.
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123896 item(s)/page