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Lot 125
British Indie/Punk – 7 LP Records & 3x12”: The Vaselines – Dum Dum, Symposium – One Day at a Time, Snuff – Reach Dutch Pressing, Flibbiddydibbiddydob & That’s Fine 12”, The X-Rays – Speed Kills, Stupids – Van Stupid, Kill Ugly Pop – Leatherface gets Religion, Daisy Chainsaw – Pink Flower 12” and Love Your Money 12”. (10)
Lot 175
Butthole Surfers / Mudhoney - 15 x 7" Single Records: Butthole Surfers 5x7"; Peel Show 1988, Dick Gas Forty Five, Soiled, The Texas Chainsaw Massacre & Flaming Lips/Declaration of Love, Mudhoney - 10x7" Incl- Touch Me I'm Sick Pink Vinyl Reissue, You Stupid Asshole Shaped Clear Vinyl, Grunge R Us, Peel Session '89 and Into Your Shtick. (15)
![PlayStation 2 (PS2) NubyTech Resident Evil 4 boxed Chainsaw controller w/stand and Resident Evil 4 [Limited Edition] game w/s](https://cdn.globalauctionplatform.com/5f18205c-3b1f-4eb0-b70d-b1ff00e93903/7c85cf69-1602-41e8-b513-b20e009eec53/468x382.jpg)
Lot 1071
A HUSQVARNA 445 X-TORQ PETROL CHAINSAW AND A TRAY CONTAINING OILS , FILES AND PPE including two pairs of Oregon Yukon chainsaw trousers (34/36 and 35/37in), a Husqvarna chaps, Oregon Sarawak class 1 protection boots (size UK12) gloves, 2 stroke oils, chain sharpeners, etc (engine pulls freely but hasn't been started)
Lot 12
El Anatsui (Ghanaian, born 1944)Migrations, 1992 signed and dated 'EL/ 92' (lower left of panel 1); each panel is numbered from 1-6 in chronological order (verso)carved, incised and painted wood62 x 58 x 2cm (24 7/16 x 22 13/16 x 13/16in).(in 6 panels)Footnotes:ProvenanceAcquired directly from the artist;A private collection.The theme of migration is evidenced in the present work through the very act of its creation. El Anatsui uses a chainsaw and an oxyacetylene torch to create his wooden sculptures before applying paint to specific fragmented areas of specific panels. Early in his practice, the chainsaw was employed solely as a tool to prepare blocks of wood for carving in the studio. However, during the several months in 1980 that he spent at the Community of Arts, Cummington in Massachusetts, El Anatsui discovered that the power tool might be used to cut rough designs into wood which could then be further manipulated, smoothed and blackened using the torch. El Anatsui assigns the metaphorical correlation between the chainsaw cutting through the wood just as European countries carved up the African continent in the nineteenth century colonisation era. In turn, the scorched surfaces and jagged edges of the work caused by the cutting and burning actions of the power tools echo the violence enacted by these colonial agents.Countering the devastation of these destructive forces, El Anatsui incorporates different coloured woods in Migrations to celebrate the diverse cultures and ethnicities of the African continent. The patterns inscribed and burnt onto the wooden slats borrow from a diverse range of mark-making traditions in Africa. These designs extend across the breaks between the individual slats of wood, symbolising the movement of populations across borders.Reflecting on his sculptural practice in 2007, the artist explained 'it's not about aesthetics only. The work is about making a statement beyond what the eyes can see, it has something to give to the mind as well' (El Anatsui quoted in Vogel, 2012: p. 83). In Migrations, process and aesthetics are united in the artist's exploration of mobilised populations. BibliographySusan Mullin Vogel, El Anatsui: art and life (Munich, 2012).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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