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Lot 1124
A 20th century black lacquer and chinoiserie style cocktail cabinet, made in Vietnam, the revolving door decorated with koi carp, with makers mark, 89cm by 49cm by 106cm together with a similar low opium/coffee table, decorated with goldfish and a matching low side/occasional table (3). All pieces are distressed with no noticeable losses, scratched and dirty throughout
Lot 1146
A circa 1930s oak writing bureau, together with an early 20th century oak chest of drawers with gallery top fitted with three central cupboard doors (a.f.) (2). The chest has been adapted as a wood working cabinet - there is a vice attached to the top. The bureau is lacking handles to the folding lid, another missing from a cupboard door. In need of restoration.
Lot 226
A quantity of mainly 19th century English porcelain part dinner and dessert services, etc, including a set of six Bloor Derby plates with blue grounds, an Imari part service, another painted with birds on a salmon ground, a Ridgeway sucrier and cover circa 1830, and a Davenport Imari cabaret tray (a.f.) (one shelf). Cabinet plate decorated with scene crazed and discoloured. Two square dishes heavily worn and rubbed with crazing, one with stapled repair. Five matching plates all with heavy wear and rubbing, three with large chips to the rim and two of those with star cracks to the base. Two further shell form matching dishes each with heavy crazing, hairlines and chips, with rubbing also. One sugar bowl and cover with repaired knop, rubbing and paint scratches. Six Bloor Derby floral plates, each rubbed and with mild paint scratches and varying degrees of crazing. Imari teapot with crack through base, continuing through body, areas of heavy rubbing. Imari Davenport serving dish with numerous stapled repairs. Smaller Imari dish with rubbing. Collingwood Imari dish with rubbing, rough patch marks, originally from three feet now missing. Part set of twenty Imari dinner plates and dishes of varying sizes each rubbied, chipped and crazed, some with hairlines.
Lot 108
A group of Daniel porcelain circa 1830, including three cabinet plates with apple green and gilt borders framing titled botanical studies, another cabinet plate with turquoise and gilt border finely enamelled with a loose bouquet, a notched square plate with heavy gilt borders interspersed with flower bouquets and two oblong card trays, one with pierced handles and green border and flowers, the other with shelf formed handles and scattered bouquets (two trays). Three cabinet plates - one with numerous hairlines, one with a star crack and hairlines, the other with numerous paint scratches. Turquoise plate with a hairline and surface scratches. Notched square plate with several hairlines, crazing and with some rubbing and paint scratches. Oblong card tray one with numerous hairlines and repairs. Card tray two with hairline cracks, repairs and paint scratches. £200-300
Lot 198
Goldener Armreif mit Antilopenköpfen. Hellenistisch, 4. Jh. v. Chr. 12,48g, ø 6,8cm. Offener Reif aus gedrehtem Goldblech und tordiertem Draht, der in Antilopenköpfen endet. Mit Kopie der Rechnung von Rouillac! Gold! Reif etwas verbogen. Provenienz: Aus der alten Sammlung des Cabinet of Curiosités des Schlosses Chenay in der Stadt Vouzon; aus der Sammlung der Enkelin des Gründers der Automarke Hispano-Suiza (1904), erworben bei Rouillac Auktion, 12. Juni 2017, Los 317 (Teil). Vgl. The Walters Art Museum, Baltimore Accession Number VO.89 (57.2021, 57.2022). Siehe B. Deppert-Lippitz, Griechischer Goldschmuck (1985) S. 232 ff. und Taf. XIX.
Lot 114
Paul Furneaux Apple: Butterfly, 2021 Japanese Woodcut Print (Mokuhanga) Unique Signed on front and verso 15 x 10cm (5¾ x 3¾ in.) I have been making Mokuhanga (japanese woodcut prints) for more than 20 years. I am more drawn to work of a more abstracted nature however on this occasion I have used imagery. In part I have used some of the printing blocks from maybe 15 years ago. It has been fun for me to make images with this charity in mind. Education Ba Hons in Drawing Painting Edinburgh College of Art 1982-86 Post graduate with distinction ECA 1986-87 Masters in Mokuhanga (Japanese woodcut printing ) Tama Art University Tokyo 1996-2000 Exhibitions 1987 - Miller Homes Award: Young Scottish Artist of the Year (studio and support for one year), Cite International des Arts, Paris 2001 - Year of the Artist Residency, National Museum of Scotland, Edinburgh 2003 - First Artist-in-Residence, Helen Frankenthaler Printmaking Cottage Studio, Center for Contemporary Printmaking, Connecticut, USA 2006 - Elected Royal Scottish Academician 2012 - Mokuhanga Innovative Laboratory: International Artist-in-Residence Programme, Lake Kawaguchi, Japan. 2015 - National Open Art Exhibition, London, Orrin Trust Award Exhibitions 2018 - Between Moments, Open Eye Gallery, Edinburgh 2018 - Cabinet Exhibition, John Martin Gallery, London 2017 - Yellow and Blue, Pittenweem Art Festival (invited artist) 2016 - Borrowed Light, Open Eye Gallery, Edinburgh 2015 - Outside: Inside, William Road Gallery, John McAslan + Partners, London 2015 - Mokuhanga, Meffan Galleries and Museum, Forfar, Angus 2014 - Japanese Woodcut Prints, Printmaking Studio, Academy of Fine Arts, DKO, Gent 2014 - Inside: Outside, Open Eye Gallery, Edinburgh 2013 - Pause, House for an Art Lover, Glasgow 2012 - New Works (with Niamh Flanagan), Dublin Graphic Studio Gallery 2011 - Paul Furneaux: Mokuhanga, Edinburgh Printmakers Gallery 2019 - Breaking Boundaries: 9 International Mokuhanga artists, Walla Walla Foundry Gallery, USA 2019 - Art + Identity: An International View, Browngrotta Arts, Connecticut, USA 2019 - Mokuhanga: Cross Culture Europe + Japan, CfSHE Gallery, Tokyo Gallery Representation Royal Scottish Academy Edinburgh Open Eye Gallery Edinburgh Tatha Gallery, Fife John Martin Gallery London Browngrotta Gallery Connecticut USA About the postcard artwork I mostly work in an Abstract pared down language using my chosen medium of Mokuhanga (Japanese woodcut print) For this exhibition and in part because of the small scale I have decided to use imagery. They are all Japanese woodcut prints, printed with watercolour. I hope the imagery used can be seen as little icons: butterfly,buds, emerging head and small birch trees I have enjoyed making them .Simple as they appear they are all cut from wood with gouges and chisels and then printed by hand from watercolour brushed on the multiple blocks used to build up the layers. Each is a unique single print which I have carefully wrapped and pasted around the post cards.
Lot 115
Paul Furneaux Buds, 2021 Japanese Woodcut Print (Mokuhanga) Unique Signed on front and verso 15 x 10cm (5¾ x 3¾ in.) I have been making Mokuhanga (japanese woodcut prints) for more than 20 years. I am more drawn to work of a more abstracted nature however on this occasion I have used imagery. In part I have used some of the printing blocks from maybe 15 years ago. It has been fun for me to make images with this charity in mind. Education Ba Hons in Drawing Painting Edinburgh College of Art 1982-86 Post graduate with distinction ECA 1986-87 Masters in Mokuhanga (Japanese woodcut printing ) Tama Art University Tokyo 1996-2000 Exhibitions 1987 - Miller Homes Award: Young Scottish Artist of the Year (studio and support for one year), Cite International des Arts, Paris 2001 - Year of the Artist Residency, National Museum of Scotland, Edinburgh 2003 - First Artist-in-Residence, Helen Frankenthaler Printmaking Cottage Studio, Center for Contemporary Printmaking, Connecticut, USA 2006 - Elected Royal Scottish Academician 2012 - Mokuhanga Innovative Laboratory: International Artist-in-Residence Programme, Lake Kawaguchi, Japan. 2015 - National Open Art Exhibition, London, Orrin Trust Award Exhibitions 2018 - Between Moments, Open Eye Gallery, Edinburgh 2018 - Cabinet Exhibition, John Martin Gallery, London 2017 - Yellow and Blue, Pittenweem Art Festival (invited artist) 2016 - Borrowed Light, Open Eye Gallery, Edinburgh 2015 - Outside: Inside, William Road Gallery, John McAslan + Partners, London 2015 - Mokuhanga, Meffan Galleries and Museum, Forfar, Angus 2014 - Japanese Woodcut Prints, Printmaking Studio, Academy of Fine Arts, DKO, Gent 2014 - Inside: Outside, Open Eye Gallery, Edinburgh 2013 - Pause, House for an Art Lover, Glasgow 2012 - New Works (with Niamh Flanagan), Dublin Graphic Studio Gallery 2011 - Paul Furneaux: Mokuhanga, Edinburgh Printmakers Gallery 2019 - Breaking Boundaries: 9 International Mokuhanga artists, Walla Walla Foundry Gallery, USA 2019 - Art + Identity: An International View, Browngrotta Arts, Connecticut, USA 2019 - Mokuhanga: Cross Culture Europe + Japan, CfSHE Gallery, Tokyo Gallery Representation Royal Scottish Academy Edinburgh Open Eye Gallery Edinburgh Tatha Gallery, Fife John Martin Gallery London Browngrotta Gallery Connecticut USA About the postcard artwork I mostly work in an Abstract pared down language using my chosen medium of Mokuhanga (Japanese woodcut print) For this exhibition and in part because of the small scale I have decided to use imagery. They are all Japanese woodcut prints, printed with watercolour. I hope the imagery used can be seen as little icons: butterfly,buds, emerging head and small birch trees I have enjoyed making them .Simple as they appear they are all cut from wood with gouges and chisels and then printed by hand from watercolour brushed on the multiple blocks used to build up the layers. Each is a unique single print which I have carefully wrapped and pasted around the post cards.
Lot 116
Paul Furneaux Star Man, 2021 Japanese Woodcut Print (Mokuhanga) Unique + Signed on front and verso 15 x 10cm (5¾ x 3¾ in.) I have been making Mokuhanga (japanese woodcut prints) for more than 20 years. I am more drawn to work of a more abstracted nature however on this occasion I have used imagery. In part I have used some of the printing blocks from maybe 15 years ago. It has been fun for me to make images with this charity in mind. Education Ba Hons in Drawing Painting Edinburgh College of Art 1982-86 Post graduate with distinction ECA 1986-87 Masters in Mokuhanga (Japanese woodcut printing ) Tama Art University Tokyo 1996-2000 Exhibitions 1987 - Miller Homes Award: Young Scottish Artist of the Year (studio and support for one year), Cite International des Arts, Paris 2001 - Year of the Artist Residency, National Museum of Scotland, Edinburgh 2003 - First Artist-in-Residence, Helen Frankenthaler Printmaking Cottage Studio, Center for Contemporary Printmaking, Connecticut, USA 2006 - Elected Royal Scottish Academician 2012 - Mokuhanga Innovative Laboratory: International Artist-in-Residence Programme, Lake Kawaguchi, Japan. 2015 - National Open Art Exhibition, London, Orrin Trust Award Exhibitions 2018 - Between Moments, Open Eye Gallery, Edinburgh 2018 - Cabinet Exhibition, John Martin Gallery, London 2017 - Yellow and Blue, Pittenweem Art Festival (invited artist) 2016 - Borrowed Light, Open Eye Gallery, Edinburgh 2015 - Outside: Inside, William Road Gallery, John McAslan + Partners, London 2015 - Mokuhanga, Meffan Galleries and Museum, Forfar, Angus 2014 - Japanese Woodcut Prints, Printmaking Studio, Academy of Fine Arts, DKO, Gent 2014 - Inside: Outside, Open Eye Gallery, Edinburgh 2013 - Pause, House for an Art Lover, Glasgow 2012 - New Works (with Niamh Flanagan), Dublin Graphic Studio Gallery 2011 - Paul Furneaux: Mokuhanga, Edinburgh Printmakers Gallery 2019 - Breaking Boundaries: 9 International Mokuhanga artists, Walla Walla Foundry Gallery, USA 2019 - Art + Identity: An International View, Browngrotta Arts, Connecticut, USA 2019 - Mokuhanga: Cross Culture Europe + Japan, CfSHE Gallery, Tokyo Gallery Representation Royal Scottish Academy Edinburgh Open Eye Gallery Edinburgh Tatha Gallery, Fife John Martin Gallery London Browngrotta Gallery Connecticut USA About the postcard artwork I mostly work in an Abstract pared down language using my chosen medium of Mokuhanga (Japanese woodcut print) For this exhibition and in part because of the small scale I have decided to use imagery. They are all Japanese woodcut prints, printed with watercolour. I hope the imagery used can be seen as little icons: butterfly,buds, emerging head and small birch trees I have enjoyed making them .Simple as they appear they are all cut from wood with gouges and chisels and then printed by hand from watercolour brushed on the multiple blocks used to build up the layers. Each is a unique single print which I have carefully wrapped and pasted around the post cards.
Lot 117
Paul Furneaux Birch Trees, 2021 Japanese Woodcut Print (Mokuhanga) Unique Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) I have been making Mokuhanga (japanese woodcut prints) for more than 20 years. I am more drawn to work of a more abstracted nature however on this occasion I have used imagery. In part I have used some of the printing blocks from maybe 15 years ago. It has been fun for me to make images with this charity in mind. Education Ba Hons in Drawing Painting Edinburgh College of Art 1982-86 Post graduate with distinction ECA 1986-87 Masters in Mokuhanga (Japanese woodcut printing ) Tama Art University Tokyo 1996-2000 Exhibitions 1987 - Miller Homes Award: Young Scottish Artist of the Year (studio and support for one year), Cite International des Arts, Paris 2001 - Year of the Artist Residency, National Museum of Scotland, Edinburgh 2003 - First Artist-in-Residence, Helen Frankenthaler Printmaking Cottage Studio, Center for Contemporary Printmaking, Connecticut, USA 2006 - Elected Royal Scottish Academician 2012 - Mokuhanga Innovative Laboratory: International Artist-in-Residence Programme, Lake Kawaguchi, Japan. 2015 - National Open Art Exhibition, London, Orrin Trust Award Exhibitions 2018 - Between Moments, Open Eye Gallery, Edinburgh 2018 - Cabinet Exhibition, John Martin Gallery, London 2017 - Yellow and Blue, Pittenweem Art Festival (invited artist) 2016 - Borrowed Light, Open Eye Gallery, Edinburgh 2015 - Outside: Inside, William Road Gallery, John McAslan + Partners, London 2015 - Mokuhanga, Meffan Galleries and Museum, Forfar, Angus 2014 - Japanese Woodcut Prints, Printmaking Studio, Academy of Fine Arts, DKO, Gent 2014 - Inside: Outside, Open Eye Gallery, Edinburgh 2013 - Pause, House for an Art Lover, Glasgow 2012 - New Works (with Niamh Flanagan), Dublin Graphic Studio Gallery 2011 - Paul Furneaux: Mokuhanga, Edinburgh Printmakers Gallery 2019 - Breaking Boundaries: 9 International Mokuhanga artists, Walla Walla Foundry Gallery, USA 2019 - Art + Identity: An International View, Browngrotta Arts, Connecticut, USA 2019 - Mokuhanga: Cross Culture Europe + Japan, CfSHE Gallery, Tokyo Gallery Representation Royal Scottish Academy Edinburgh Open Eye Gallery Edinburgh Tatha Gallery, Fife John Martin Gallery London Browngrotta Gallery Connecticut USA About the postcard artwork I mostly work in an Abstract pared down language using my chosen medium of Mokuhanga (Japanese woodcut print) For this exhibition and in part because of the small scale I have decided to use imagery. They are all Japanese woodcut prints, printed with watercolour. I hope the imagery used can be seen as little icons: butterfly,buds, emerging head and small birch trees I have enjoyed making them .Simple as they appear they are all cut from wood with gouges and chisels and then printed by hand from watercolour brushed on the multiple blocks used to build up the layers. Each is a unique single print which I have carefully wrapped and pasted around the post cards.
Lot 349
Sam Jackson Mysteries 1, 2021 Ink, Pencil and Spray on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) The beauty of painting as image, then played out with dreams and thoughts that oscillate through materials and application to bring together a 'state or space' that allows the viewer to be at one, to be taken away to a lucid world. Sam Jackson "Whenever I reflect on Sam Jackson's work there's something tantalisingly insoluble - strange to say - but I'm never quite sure if I've dreamt them. An infectious form of collective amnesia perhaps? Ultimately these paintings are lamentations for the passing of youth, the ineluctable passage of time and the attendant weight of that anxiety. A way, perhaps, of assuaging the creeping and unpleasant suspicion that our best years may be behind us? The familiar constantly rendered unfamiliar by the sheer density of life." Graham Crowley RA Schools 2003-7 Middlesex University - 1st Class Hon DegreeSolo Shows 2019 Chronicles CHARLIE SMITH LONDON, London 2018 RUN TO ME (with Derek Ridgers | curated by Faye Dowling) Galerie Heike Strelow, Frankfurt 2017 RUN TO ME (with Derek Ridgers | curated by Faye Dowling) CHARLIE SMITH LONDON, London 2014 Colossal Youth (Part 2) CHARLIE SMITH LONDON, London 2014 Colossal Youth (Part 1) VOLTA, New York 2011 The Fearful Joy CHARLIE SMITH LONDON, London 2009 Vas Deferens CHARLIE SMITH LONDON, London 2008 The Cabinet BRAUBACHfive, Frankfurt 2008 Boundaries Thomas Williams Fine Art, London Group Shows selected 2020 Picture Palace Transition Gallery, London 2020 Words that transform, vibrate and glow: 13 paintings inspired by the lyrics of Nick Cave (curated by Angela Koulakoglou) CHARLIE SMITH LONDON, London 2019 10 Years CHARLIE SMITH LONDON, London 2019 Plan B David Zwirner, New York 2019 Total Eclipse of The Heart - Paintings about Women (curated by Dan Coombs) Watson Farley & Williams, London 2018 Making and Breaking the Rules: Royal Academy 250 Russell-Cotes Art Gallery & Museum, Bournemouth 2018 Pleasure Drive (curated by GSL Projekt and CAVE 3000) GSL Projekt, Berlin Represented by Charliesmithlondon - London -UK and Galerie Heike Strelow - Frankfurt- Germany About the Postcards Paintings of 'portraits' using various mediums-ink-pencil and spray paint.
Lot 350
Sam Jackson Mysteries 2, 2021 Ink, Pencil and Spray on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) The beauty of painting as image, then played out with dreams and thoughts that oscillate through materials and application to bring together a 'state or space' that allows the viewer to be at one, to be taken away to a lucid world. Sam Jackson "Whenever I reflect on Sam Jackson's work there's something tantalisingly insoluble - strange to say - but I'm never quite sure if I've dreamt them. An infectious form of collective amnesia perhaps? Ultimately these paintings are lamentations for the passing of youth, the ineluctable passage of time and the attendant weight of that anxiety. A way, perhaps, of assuaging the creeping and unpleasant suspicion that our best years may be behind us? The familiar constantly rendered unfamiliar by the sheer density of life." Graham Crowley RA Schools 2003-7 Middlesex University - 1st Class Hon DegreeSolo Shows 2019 Chronicles CHARLIE SMITH LONDON, London 2018 RUN TO ME (with Derek Ridgers | curated by Faye Dowling) Galerie Heike Strelow, Frankfurt 2017 RUN TO ME (with Derek Ridgers | curated by Faye Dowling) CHARLIE SMITH LONDON, London 2014 Colossal Youth (Part 2) CHARLIE SMITH LONDON, London 2014 Colossal Youth (Part 1) VOLTA, New York 2011 The Fearful Joy CHARLIE SMITH LONDON, London 2009 Vas Deferens CHARLIE SMITH LONDON, London 2008 The Cabinet BRAUBACHfive, Frankfurt 2008 Boundaries Thomas Williams Fine Art, London Group Shows selected 2020 Picture Palace Transition Gallery, London 2020 Words that transform, vibrate and glow: 13 paintings inspired by the lyrics of Nick Cave (curated by Angela Koulakoglou) CHARLIE SMITH LONDON, London 2019 10 Years CHARLIE SMITH LONDON, London 2019 Plan B David Zwirner, New York 2019 Total Eclipse of The Heart - Paintings about Women (curated by Dan Coombs) Watson Farley & Williams, London 2018 Making and Breaking the Rules: Royal Academy 250 Russell-Cotes Art Gallery & Museum, Bournemouth 2018 Pleasure Drive (curated by GSL Projekt and CAVE 3000) GSL Projekt, Berlin Represented by Charliesmithlondon - London -UK and Galerie Heike Strelow - Frankfurt- Germany About the Postcards Paintings of 'portraits' using various mediums-ink-pencil and spray paint.
Lot 351
Sam Jackson Mysteries 3, 2021 Ink, Pencil and Spray on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) The beauty of painting as image, then played out with dreams and thoughts that oscillate through materials and application to bring together a 'state or space' that allows the viewer to be at one, to be taken away to a lucid world. Sam Jackson "Whenever I reflect on Sam Jackson's work there's something tantalisingly insoluble - strange to say - but I'm never quite sure if I've dreamt them. An infectious form of collective amnesia perhaps? Ultimately these paintings are lamentations for the passing of youth, the ineluctable passage of time and the attendant weight of that anxiety. A way, perhaps, of assuaging the creeping and unpleasant suspicion that our best years may be behind us? The familiar constantly rendered unfamiliar by the sheer density of life." Graham Crowley RA Schools 2003-7 Middlesex University - 1st Class Hon DegreeSolo Shows 2019 Chronicles CHARLIE SMITH LONDON, London 2018 RUN TO ME (with Derek Ridgers | curated by Faye Dowling) Galerie Heike Strelow, Frankfurt 2017 RUN TO ME (with Derek Ridgers | curated by Faye Dowling) CHARLIE SMITH LONDON, London 2014 Colossal Youth (Part 2) CHARLIE SMITH LONDON, London 2014 Colossal Youth (Part 1) VOLTA, New York 2011 The Fearful Joy CHARLIE SMITH LONDON, London 2009 Vas Deferens CHARLIE SMITH LONDON, London 2008 The Cabinet BRAUBACHfive, Frankfurt 2008 Boundaries Thomas Williams Fine Art, London Group Shows selected 2020 Picture Palace Transition Gallery, London 2020 Words that transform, vibrate and glow: 13 paintings inspired by the lyrics of Nick Cave (curated by Angela Koulakoglou) CHARLIE SMITH LONDON, London 2019 10 Years CHARLIE SMITH LONDON, London 2019 Plan B David Zwirner, New York 2019 Total Eclipse of The Heart - Paintings about Women (curated by Dan Coombs) Watson Farley & Williams, London 2018 Making and Breaking the Rules: Royal Academy 250 Russell-Cotes Art Gallery & Museum, Bournemouth 2018 Pleasure Drive (curated by GSL Projekt and CAVE 3000) GSL Projekt, Berlin Represented by Charliesmithlondon - London -UK and Galerie Heike Strelow - Frankfurt- Germany About the Postcards Paintings of 'portraits' using various mediums-ink-pencil and spray paint.
Lot 352
Sam Jackson Mysteries 4, 2021 Ink, Pencil and Spray on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) The beauty of painting as image, then played out with dreams and thoughts that oscillate through materials and application to bring together a 'state or space' that allows the viewer to be at one, to be taken away to a lucid world. Sam Jackson "Whenever I reflect on Sam Jackson's work there's something tantalisingly insoluble - strange to say - but I'm never quite sure if I've dreamt them. An infectious form of collective amnesia perhaps? Ultimately these paintings are lamentations for the passing of youth, the ineluctable passage of time and the attendant weight of that anxiety. A way, perhaps, of assuaging the creeping and unpleasant suspicion that our best years may be behind us? The familiar constantly rendered unfamiliar by the sheer density of life." Graham Crowley RA Schools 2003-7 Middlesex University - 1st Class Hon DegreeSolo Shows 2019 Chronicles CHARLIE SMITH LONDON, London 2018 RUN TO ME (with Derek Ridgers | curated by Faye Dowling) Galerie Heike Strelow, Frankfurt 2017 RUN TO ME (with Derek Ridgers | curated by Faye Dowling) CHARLIE SMITH LONDON, London 2014 Colossal Youth (Part 2) CHARLIE SMITH LONDON, London 2014 Colossal Youth (Part 1) VOLTA, New York 2011 The Fearful Joy CHARLIE SMITH LONDON, London 2009 Vas Deferens CHARLIE SMITH LONDON, London 2008 The Cabinet BRAUBACHfive, Frankfurt 2008 Boundaries Thomas Williams Fine Art, London Group Shows selected 2020 Picture Palace Transition Gallery, London 2020 Words that transform, vibrate and glow: 13 paintings inspired by the lyrics of Nick Cave (curated by Angela Koulakoglou) CHARLIE SMITH LONDON, London 2019 10 Years CHARLIE SMITH LONDON, London 2019 Plan B David Zwirner, New York 2019 Total Eclipse of The Heart - Paintings about Women (curated by Dan Coombs) Watson Farley & Williams, London 2018 Making and Breaking the Rules: Royal Academy 250 Russell-Cotes Art Gallery & Museum, Bournemouth 2018 Pleasure Drive (curated by GSL Projekt and CAVE 3000) GSL Projekt, Berlin Represented by Charliesmithlondon - London -UK and Galerie Heike Strelow - Frankfurt- Germany About the Postcards Paintings of 'portraits' using various mediums-ink-pencil and spray paint.
Lot 267
George III mahogany washstand, square section cabinet with two flaps opening to reveal washbowl recess, rise and fall mirror, lower section with two cupboards, two short and one long drawer with turned handles, decorated all over with cross-banding and whitewood string.46cm (18") square, height 91cm (36")Condition report: Fold-out lid not meeting correctly (see illustration), rise and fall mirror requiring attention to frame and ratchet mechanism, Spode blue and white pottery bowl heavily restored with stapling.
Lot 202
Early 20th century Chinese lacquered dim sum lunch box, circular shape, three tiers with lid, chinoiserie decoration, also an early 20th century Chinese black lacquered three tier sewing box, rectangular section fitted single drawer to base, loop handle.lunch box diameter 28cm (11"), height 38cm (15"), sewing box width 35cm (14"), depth 24cm (9.5"), height 46cm (18")Condition report: Dim sum food box in reasonable unscuffed condition, the lacquered sewing cabinet suffering from a number of knocks and damages (see photographs).
Lot 212
18th-century oak spice cupboard, original door missing, the carcass containing ten drawers surround open shelf.width 46cm (18"), depth 26cm (10"), height 51cm (20")Condition report: Each drawer fitted with brass knob, however long lower drawer with later turned handles, door missing, moulding to bottom of cabinet returns to backboards missing.
Lot 227
First half 20th Century Chinese black lacquered corner cabinet, doors decorated with hardstone and bone figures. 75cm (29.5in) wide, 48cm (19in) deep, 87cm (34in) highQty: 1Condition report: Damage to one leg, signs of wear and chipping to some of the edges. (photographed) Hardstone figures in good condition.
Lot 229
Mid-19th century collectors cabinet on stand, the upper section with two doors veneered in figured mahogany with ebonised stringing, interior with seven drawers (six drawers missing), each with ebonised turned handles and ebony stringing.width 56cm (22"), depth 37cm (14"), height 117cm (46")Condition report: Astragal to closure of main doors damaged at the top (see photograph), split to veneer on top of the cabinet, six drawers missing (see illustration).
Lot 230
Mid 19th century continental walnut side cabinet, imposing architectural proportions, decorated all over with classical decorative motifs, central bevelled plate glass mirror, flanked by two cupboards, lower breakfront base, fitted three drawers and four cupboards all standing on four bun feet.width 206cm (81"), depth 63cm (25"), height 292cm (115")Qty: 1Condition report: Overall condition good, good colour, mirror in good order, small watermark to top, generally a well cared for piece of furniture.
Lot 231
18th-century Flemish ebonised and tortoiseshell veneered collectors cabinet, a pair of doors with cushion-shaped mouldings embellished with ivory stringing opening to reveal fitted interior, veneered in floral scagliola, ten drawers surrounding central classical cupboard with ormolu classical figures opening to reveal a miniature mirrored architectural interior with columns and a further eight small drawers, lower part with two slides inlaid with geometric hardwood panels, two further drawers to lower frieze, the entire cabinet stands on 18th-century English gold and black painted Rococo style substantial carved wood base, four cabriole legs with animal paw feet.width 132cm (52"), depth 58cm (23"), height 187cm (74")Condition report: This impressive cabinet has stood in storage for a number of years and therefore the drawers and cupboards do not work as efficiently as they would have originally been made. There are many pieces of veneer missing, the inner cupboard having been broken into at some stage, while most of the ormolu is present, one reclining maiden top left of the interior is missing. Whilst Wilson55 has made every effort to give multiple photographs demonstrating the condition of the cabinet, it is strongly recommended that the cabinet should be viewed in order to be completely satisfied with the condition.
Lot 238
1930's Queen Anne style double dome glazed display cabinet, the upper section with two astragal glazed doors covering two fixed shelves, lower section with four short drawers surrounding central arch all standing on cabriole legs.width 96cm (38"), depth 46cm (18"), height 182cm (72")Condition report: Overall good condition with some blemishes to lower section (see illustrations).Key to access glazed doors
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