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Lot 221
A group of costume jewellery and effects, comprising an oval painted brooch with shepherdess and sheep, white metal unmarked, 4cm wide, two turquoise and painted studs, 2cm high, a Victorian silver stork pendant, 4cm high, a 1887 Victoria coin pin brooch, a mother of pearl and gilt framed oval brooch, 5cm wide, a plated part necklace with enamel detailing, a brass circular button brooch, a gilt metal framed memorial locket panel, a yellow metal unmarked stick pin, and a pair of plated knife rests. (a quantity)
Lot 51
Selection of Various Badges and Medallions including alloy painted, QC HG car badge ... WW1, brass Chilwell Shell Filling Factory No 6 fob ... Alloy ROF Pembrey Shelter fob ... SMRC Inter Railways Shooting Team 1946 medallion ... Gilt and enamel Band Of Home medallion ... Gilt and enamel, QC Orange Widows Fund Belfast 1980 medallion ... Silvered coin converted to a miniature table. 23 + items. Payment by BANK TRANSFER ONLY
Lot 277
Camden (W), BRITANNIA: OR A CHOROGRAPHICAL DESCRIPTION OF GREAT BRITAIN AND IRELAND, TOGETHER WITH THE ADJACENT ISLANDS, 2 vols, second edition, revised, digested, and published, with large additions by Edmund Gibson, Bishop of London, later 3/4 leather with marbled boards (by repute re-bound by Aileen Fox of Blackwell's in 1967), engraved portrait frontispiece, red and black title page, fifty one maps (forty eight by Robert Morden, three by Andrew Johnstone), nine coin plates, two antiquities plates and numerous illustrations in the text, printed for James and John Knapton, John Darby et al, London 1722 (2) NOTE: By repute from the library of Cyril Fox and used when writing THE PERSONALITY OF BRITAIN in 1932
Lot 98
An Edwardian continental silver mounted crocodile evening purse, import marks for 'L.K', Birmingham 1903, of rectangular form with scrolling silver mounts and vacant shield cartouche, suspended on an unmarked silver coloured chain, opening to reveal brown leather interior with coin pouch and card pockets, 11.8cm x 8.2cmCR; Splitting and wear/loss to the leather around the folds of the purse. Some staining to the lining. Moderate scratching and general wear to the exterior and interior. Some denting to the silver mounts, heavy scratching and wear. Considerable wear to the mounts on the inside of the purse. Clasps and fastenings to interior in good order. Chain in good order. See pictures for illustration.
Lot 35
ORLAN (Saint-Étienne, France, 1947)."Disfiguration-Refiguration, Pre-Columbian Self-hybridizations, No. 21, 1999.Photograph. Copy 3/7.Work reproduced on the artist's website.With a bump on the frame.Signed, dated, justified and titled on the back.Size: 90 x 57 cm; 125 x 94 cm (frame).Orlan is known for intervening her own body, carrying out different aesthetic operations on herself. In this particular case, the piece preserves this idea of body modification and manipulation, however, in this work, the artist goes a step further. She not only questions her own identity, but also appropriates another culture. To do so, she makes use of an iconography associated with different pre-Columbian vestiges, such as the necklace, the shape of the hairstyle, the facial tattoos, and even the physiognomy of the nose, which is reminiscent of some profiles found in Aztec reliefs.ORLAN's career as a performance artist began in 1964, when he performed Marches au ralenti (slow motion walks) in his hometown of Saint-Étienne. During these performances, he walked as slowly as possible between two central parts of the city. In 1965, ORLAN produced MesuRages, in which he used his own body as a measuring instrument. With his "ORLAN-body" as a unit of measurement, he assessed how many people could fit into a given architectural space. This was the first time he used his body in a performance piece. ORLAN reused this concept in several subsequent projects. Between 1964 and 1966, ORLAN produced Vintages, a series of black and white photographic works. She destroyed the original negatives of these pieces and today only one copy of each photograph remains. In this series, she posed nude in various yoga-like positions. One of the most famous images from this series is ORLAN accouche d'elle m'aime.Between 1967 and 1975, ORLAN produced a body of work entitled Tableaux Vivants. He based them on the works of baroque artists such as El Greco and Gericault. He used inmates as models, wore exaggerated imitation baroque costumes and was inspired by Caravaggesque stereotypes. In 1971, ORLAN "christened itself" Sainte-ORLAN, adorning itself in black corrugated vinyl and white faux leather. Colour photographs of Sainte-ORLAN were subsequently incorporated into photo-collages, videos and films tracing a fictitious hagiography. During the 1977 FIAC International Contemporary Art Fair in Paris, ORLAN performed the controversial performance piece The Artist's Kiss (Le baiser de l'artiste). Outside the Grand Palais in Paris, a life-size photo of his torso was turned into a slot machine. Spectators could watch the coin inserted into the torso descend into a groin before receiving a kiss from the artist.ORLAN founded the International Performance Symposium in Lyon. In 1982, he collaborated with artist Frédéric Develay to create the first online contemporary art magazine, Art-Accès-Revue, on the French precursor of the Internet, the Minitel. In 1990, ORLAN initiated the Reincarnation of Sainte-ORLAN. This is a series of plastic surgeries through which the artist transformed herself into elements of famous paintings and sculptures of women. As part of her manifesto "Carnal Art", these works were filmed and shown in institutions around the world, such as the Centre Georges Pompidou in Paris and the Sandra Gehring Gallery in New York. ORLAN's goal in these surgeries is to acquire the ideal of female beauty as depicted by male artists. When the surgeries are completed, she will have the chin of Botticelli's Venus, the nose of Jean-Léon Gérôme's Psyche, the lips of François Boucher's Europe, the eyes of Diana (and the forehead of Leonardo da Vinci's Mona Lisa. ORLAN chose these characters, "not because of the canons of beauty they represent... but because of the stories associated with them".
Lot 1822
A 20th century Arabian silver metal-mounted presentation jambia, the typical curved blade with central reinforcing rib, blade length 19cm, the amber-type material handle with applied gold metal coin appliqués, with silver metal scabbard, the face side detailed with engraved openwork decoration and line of script.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 190
Y A German coin scale by Johann Peter Aeckersberg, dated 1773, with balance and set of weights, paper label to the lid, 12cm wide, together with a collection of various items of treen, various dates 19th century, comprising; a pair of turned stands, of mallet form, 18.5cm high, a maul, 28cm long, a polychrome painted 'trowell', 37cm long, two circular silver coloured metal ebonised snuff boxes, a walnut snuff box, a circular burr wood snuff box with hinged lid, and a tortoiseshell thimble case, 3.5cm high
Lot 26
9CT, SILVER & OTHER VICTORIAN & LATER JEWELLERY - to include five pairs of yellow and white 9ct gold earrings, single strand cultured pearl necklace with sterling clasp, various bits of 9ct gold including a vintage T bar, padlock clasp, ETC, two Victoria coin silver mounted brooches, lady's '800' stamped vintage fob watch having a painted dial set with Roman numerals and key wind movement, silver and enamel floral brooch and other interesting items, approximately 14grms of weighable gold
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