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Lot 767
Large Edwardian rosewood sideboard, the top surmounted by a broken arch pediment over bevelled astragal glazed door to centre, flanked turned pilasters and open shelves, over bottom section fitted with cupboards and drawers, raised on turned supports, profusely decorated all over with floral and urn inlay W153cm, H240cm, D42cm,
Lot 400
A GWR First Class straight sided railway carriage for restoration, conservation and repair, understood to date circa 1855, family owned for some 100 years having had a turntable fitted and been towed behind a steam traction engine for travelling accomodation Up until a few years ago it was under cover in a makshift store covered by brambles, having had the advantage of the family fixing corrrugated iron sheets on the roof to protect it Bronze door handles stamped G.W.R. SWINDON The carriage remains in a field on the outskirts of the New Forest (postcode area BH31) It is the purchasers responsibilty to remove and collect the carriage within a reasonable period of time from the auction by arrangement with the vendor who will arrange to have the branches cut from around the carriage to ease removal No viewing for this is available Please see multiple images showing the carriage from most angles/details 6 meters long 2.35 meters wide, cabin 2.4 high, Height does not include wheels
Lot 219
Kate Hayllar (British 1864-1959, active 1883-1898) - The Old Brocaded Gown - signed and dated 1885 lower right, watercolour, label to verso stating exhibited at the Royal Academy in 1885, number 1178, framed & glazed, 19 by 22cms (7.5 by 8.75ins). * ARR may apply to this lot.Condition ReportGeneral foxing, more visible against the white door background, otherwise looks to be in good condition with no visible damage or repair.
Lot 634
Thomas Stripling, Barwell, Leicestershire, an 18th Century oak longcase clock, dentil cornice with marquetry inlaid frieze, square brass dial with bright cut engraved birds and sun motif to the centre, scroll spandrels, silvered chapter ring with Roman numerals, bell striking mechanism, parquetry strung arched trunk door, height 212cm, (pendulum, weight and door key). Note: Thomas Stripling, baptised 1707 appears to have been the first clockmaker in Barwell. It is not thought the Barwell Stripling's are related to the famous Lichfield clockmaking family of the same name.
Lot 637
John Hall & Co, Manchester, a late Victorian light oak bracket clock, circa 1890, the case of Baroque design with broken pediment, arched bright cut engraved brass dial with silvered subsidiary slow/fast, chime/silent dials and Roman numeral principal dial, glazed door flanked by Corinthian columns, fretwork side sound grilles, gong chiming mechanism, 59cm high, with matching wall bracket, (key, pendulum and door key) (2)
Lot 640
John Roberts, Dartmouth, a late 18th Century shuttlecock automata longcase clock: the eight-day duration movement striking the hours on a bell, with the thirteen-inch painted break-arch dial having black Roman hour numerals with the centre having a subsidiary seconds dial and signed for the maker John Roberts, Dartmouth and painted to each corner with a depiction of a flint house with tower, the arch having a painted scene of a couple playing badminton within a garden, the shuttlecock moving between each player's racket with each beat of the clock, the mahogany case with canted corners to the trunk, a curved moulding to the trunk door, boxwood stringing to the base and trunk, the hood having an architectural pediment with a brass eagle-and-ball finial between and columns with cast-brass capitals, all standing on bracket feet, height 226cm. (two weights, key and pendulum). Biography: John Roberts is recorded as working as a watch & clockmaker in Dartmouth in 1793.
Lot 100A
LATE 19TH CENTURY BLACK FOREST OAK SIDEBOARD, the moulded raised cornice over a central cupboard door carved in relief with a figural scene, flanked by two further cupboard doors within outset columns, raised on two column supports, the base with two frieze drawers over two moulded cupboard doors, on bun feet, 138cm wide
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 197
Matthew J. Pitts Little Kniffenberg, 2021 Acrylic and Gesso on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Matthew J Pitts studied Fine Art Painting at Norwich School of Art and Design and is a now based in St Leonards-on-sea, on the south coast of England. His work is in private collections in the UK, Europe, Switzerland, Australia, and the US. Pitts creates work with a warm and open character that explores the formal qualities of painting and pictorial space - composition, shape, line and colour. "Many things influence my paintings and there is no hierarchy: bad jokes, Tintoretto, a dripping tap - it's all fair game and welcomed in equally. The paintings exist as objects in their own right and there is no hidden message or agenda. They are a collection of humble materials that provide a record of endeavour at a particular moment in time. In many ways painting can seem a selfish pursuit, but like many others I have a desire to create and I am drawn to the physical process of painting. I create work in an attempt to better understand the parameters of painting and in turn, better understand the world around me and my place within it. I hope that there is generosity to be found in the images that I make and that viewing them and living with them can be a positive experience." Education BA (hons) Fine Art Painting Exhibitions 2019: Bauhaus, Kobi and Teal, Frome, UK 2019: Design Junction, London, UK 2019: Twice as Nice, PS Marabel, Manchester, UK 2012: Art and Domesticity, Home 2, Hastings, UK 2011: Smalls-Murray 'Screen Test', Norfolk and Norwich festival, UK 2010: Smalls-Murray 'Petty Tache' Coastal Currents Festival, Hastings,UK 2010: Back Door Barter, Back Door Gallery @ Norwich Fringe Festival, UK 2009: Solo Exhibition, Dragon Bar, Hastings, UK 2006: Solo Exhibition, Back Door Gallery, Norwich, UK Representation and collaboration: Wilson, Stephens & Jones, London, UK Dust & Soul, Madrid, Spain About the postcard artworks I enjoyed making work on such an intimate scale. Through their inherent simplicity and economy of visual language I hope the paintings invoke a sense of play and mystery.
Lot 198
Matthew J. Pitts Sebastian Says, 2021 Acrylic, Gesso and Graphite on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Matthew J Pitts studied Fine Art Painting at Norwich School of Art and Design and is a now based in St Leonards-on-sea, on the south coast of England. His work is in private collections in the UK, Europe, Switzerland, Australia, and the US. Pitts creates work with a warm and open character that explores the formal qualities of painting and pictorial space - composition, shape, line and colour. "Many things influence my paintings and there is no hierarchy: bad jokes, Tintoretto, a dripping tap - it's all fair game and welcomed in equally. The paintings exist as objects in their own right and there is no hidden message or agenda. They are a collection of humble materials that provide a record of endeavour at a particular moment in time. In many ways painting can seem a selfish pursuit, but like many others I have a desire to create and I am drawn to the physical process of painting. I create work in an attempt to better understand the parameters of painting and in turn, better understand the world around me and my place within it. I hope that there is generosity to be found in the images that I make and that viewing them and living with them can be a positive experience." Education BA (hons) Fine Art Painting Exhibitions 2019: Bauhaus, Kobi and Teal, Frome, UK 2019: Design Junction, London, UK 2019: Twice as Nice, PS Marabel, Manchester, UK 2012: Art and Domesticity, Home 2, Hastings, UK 2011: Smalls-Murray 'Screen Test', Norfolk and Norwich festival, UK 2010: Smalls-Murray 'Petty Tache' Coastal Currents Festival, Hastings,UK 2010: Back Door Barter, Back Door Gallery @ Norwich Fringe Festival, UK 2009: Solo Exhibition, Dragon Bar, Hastings, UK 2006: Solo Exhibition, Back Door Gallery, Norwich, UK Representation and collaboration: Wilson, Stephens & Jones, London, UK Dust & Soul, Madrid, Spain About the postcard artworks I enjoyed making work on such an intimate scale. Through their inherent simplicity and economy of visual language I hope the paintings invoke a sense of play and mystery.
Lot 277
Guy Yanai Woman on Earth, 2021 Signed on verso Colored Pencil on Deckled Edge Paper 15 x 10cm (5¾ x 3¾ in.) Born 1977 in Haifa, Israel, Guy Yanai currently lives and works in Tel Aviv. Education Yanai attended ParsonsThe New School for Design, New York, NY, The New York Studio School, New York, NY, Pont Aven School of Art, Pont-Aven, France and received a BFA from Hampshire College, Amherst, MA. Exhibitions Yanai has had numerous solo exhibitions nationally and internationally. Recent solo exhibitions include "The Caboose", Prad-Delavallade, LA, "Eté 2020", Niels Kantor Gallery, Beverly Hills, "LIFE IN GERMANY", Conrads Gallery, Düsseldorf, "Guy Yanai", Miles McEnery Gallery, New York, "The Conformist", Praz-Delavallade, Paris, "Boy On An Island", Galerie Conrads, Düsseldorf; "Barbarian In The Garden", Praz Delavallade LA; "Speak, America", Ameringer | McEnery | Yohe Gallery, NYC; "Calm European", Solo booth at Art Brussels with Flatland Gallery, Amsterdam; "Calm European", Flatland Gallery, Amsterdam; "Love of Beginnings," Galerie Derouillon; "Fox Hill Road," Rod Barton, Brussels, Belgium; "Ordinary Things," Haifa Museum of Art, Haifa, Israel; "Diary," Galerie Derouillon, Paris, France; "First Battle Lived Accident," Alon Segev Gallery, Tel Aviv, Israel; "Accident Nothing," Aran Cravey Gallery, Los Angeles, CA; "Lived & Laughed & Loved & Left," La Montagne Gallery, Boston, MA; and "Battle, Therapy, Living Room," The Velan Center for Contemporary Art, Torino, Italy. Recent group exhibitions include "Constructing an imaginary", curated by Domenico De Chirico, Badr El Jundi Gallery, Málaga, "La terre est bleue comme une orange", Praz-Delavallade, Paris, "Sound & Color", Miles McEnery Gallery, curated by Brian Alfred, New York, "INTERIORS: hello from the living room", 1969 Gallery, New York, "DO YOU THINK IT NEEDS A CLOUD?", Miles McEnery Gallery, New York, "To Paint Is To Love Again", Nino Mier Gallery, curated by Olivier Zahm, Los Angeles, "Proposals for a Collection", Annarumma, Naple, Artissima, with Praz-Delavallade, Paris, "Le Magasin" at Unit 5, Praz-Delavallade, Los Angeles, "Door Into Summer / M's collection +", Maho Kubota Gallery, Tokyo, "Domestic Comfort", Flatland Gallery, Amsterdam, "As You Like It", Praz-Delavallade, LA; The Barn Show 2018, Johannes Vogt, NYC; "Jerry, Show Me Love !", Galerie Derouillon, Paris; "Reflector", Luciana Brito - New York Project, NYC; "Belief in Giants", Miles McEnery Gallery, NYC; "L'Anti-Destin", En collaboration avec la Galerie Derouillon, la Galerie Helenbeck et Pierre et Alexandre Lorquin, Paris, Curated by: Pauline Pavec; "Surreal House", The Pill, Istanbul; Art Cologne with Galerie Conrads, Düsseldorf; "Post Analog Painting II", The Hole, NYC Gallery Representation Praz-Delavallade, LA, Praz-Delavallade, Paris, Galerie Conrads, Berlin, Flatland Gallery, Amsterdam, Miles McEnery Gallery, NY
Lot 390
James Owens Empty Stage, 2021 Watercolour on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) James Owens' (B. 1995) work depicts imagined folk-like scenes, largely inspired by his upbringing spent between the countryside and a Yorkshire fisherman's village. His work gathers past, present and imagined scenes to form new narratives, blurring the boundaries between memory and contemplation. The works offer moments of liminality which draw from external visual references such as 1920/30's Disney animation. Nature and its mysteries also come to play, revealed through flowers which sway sinisterly and knowing eyes which seem to have it all sussed out. Meanwhile, curling blades of grass peer curiously across the canvas, weighed down by water droplets, drooping as though upset. Though inherently figurative, it isn't hard to feel like nature has the upper hand in Owens' works. 2016 - 2018
 BA Illustration
Camberwell College of Arts (UAL) 2015 - 2016 
BA Illustration and Visual Media
London College of Communication (UAL) 2014 - 2015 
Foundation Diploma in Art and Design London College of Communication (UAL) 2021 Bloodroot, Arusha Gallery, Edinburgh Spring Fling, All Mouth Gallery, London What I See I Will Never Tell, Wilder Gallery, London Safe As Milk, Arusha Gallery, Edinburgh '07', PM/AM Gallery, online exhibition When Shit Hits the Fan Again, Guts Gallery, virtual exhibition via Instagram 2020 Curated for Christmas, All Mouth & Bowes Parris Gallery, London Delphian Open Call 2020, virtual exhibition Cellar Door, APT Gallery, London [postponed] Tender Kith, 155a Gallery, London Hung Up, All Mouth Gallery, The Hackney Tub, London In Response, The Viewing Room Gallery, Blue Shop Cottage, London Anti Freeze, The Viewing Room Gallery, virtual exhibition Curated for Covid, online exhibition When Shit Hits the Fan, Guts Gallery, virtual exhibition via Instagram 2019 Winter Fair, 155a Gallery, London Pop-up Exhibition, Partnership Editions, Islington Square, London 2018 Evening Standard Art Prize (shortlisted), National Gallery, London Modernist Miniaturists, Benk + Bo, London Affordable Art Fair (Battersea) recent graduates show, London Oh, What a Tangled Web we Weave, Take Courage Gallery, London About the Postcards These works are imagined scenes inspired by films, life and memory. Watercolour on paper works act as a preparatory method used to conjure up ideas for larger works on canvas. So these become the most raw form of a new work; experimenting with dry brushstrokes and pools of colour to create a semi abstracted flow to the painting.
Lot 391
James Owens Dawn by the Riverside, 2021 Watercolour on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) James Owens' (B. 1995) work depicts imagined folk-like scenes, largely inspired by his upbringing spent between the countryside and a Yorkshire fisherman's village. His work gathers past, present and imagined scenes to form new narratives, blurring the boundaries between memory and contemplation. The works offer moments of liminality which draw from external visual references such as 1920/30's Disney animation. Nature and its mysteries also come to play, revealed through flowers which sway sinisterly and knowing eyes which seem to have it all sussed out. Meanwhile, curling blades of grass peer curiously across the canvas, weighed down by water droplets, drooping as though upset. Though inherently figurative, it isn't hard to feel like nature has the upper hand in Owens' works. 2016 - 2018
 BA Illustration
Camberwell College of Arts (UAL) 2015 - 2016 
BA Illustration and Visual Media
London College of Communication (UAL) 2014 - 2015 
Foundation Diploma in Art and Design London College of Communication (UAL) 2021 Bloodroot, Arusha Gallery, Edinburgh Spring Fling, All Mouth Gallery, London What I See I Will Never Tell, Wilder Gallery, London Safe As Milk, Arusha Gallery, Edinburgh '07', PM/AM Gallery, online exhibition When Shit Hits the Fan Again, Guts Gallery, virtual exhibition via Instagram 2020 Curated for Christmas, All Mouth & Bowes Parris Gallery, London Delphian Open Call 2020, virtual exhibition Cellar Door, APT Gallery, London [postponed] Tender Kith, 155a Gallery, London Hung Up, All Mouth Gallery, The Hackney Tub, London In Response, The Viewing Room Gallery, Blue Shop Cottage, London Anti Freeze, The Viewing Room Gallery, virtual exhibition Curated for Covid, online exhibition When Shit Hits the Fan, Guts Gallery, virtual exhibition via Instagram 2019 Winter Fair, 155a Gallery, London Pop-up Exhibition, Partnership Editions, Islington Square, London 2018 Evening Standard Art Prize (shortlisted), National Gallery, London Modernist Miniaturists, Benk + Bo, London Affordable Art Fair (Battersea) recent graduates show, London Oh, What a Tangled Web we Weave, Take Courage Gallery, London About the Postcards These works are imagined scenes inspired by films, life and memory. Watercolour on paper works act as a preparatory method used to conjure up ideas for larger works on canvas. So these become the most raw form of a new work; experimenting with dry brushstrokes and pools of colour to create a semi abstracted flow to the painting.
Lot 392
James Owens Walk in Peckham Rye Park, 2021 Watercolour on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) James Owens' (B. 1995) work depicts imagined folk-like scenes, largely inspired by his upbringing spent between the countryside and a Yorkshire fisherman's village. His work gathers past, present and imagined scenes to form new narratives, blurring the boundaries between memory and contemplation. The works offer moments of liminality which draw from external visual references such as 1920/30's Disney animation. Nature and its mysteries also come to play, revealed through flowers which sway sinisterly and knowing eyes which seem to have it all sussed out. Meanwhile, curling blades of grass peer curiously across the canvas, weighed down by water droplets, drooping as though upset. Though inherently figurative, it isn't hard to feel like nature has the upper hand in Owens' works. 2016 - 2018
 BA Illustration
Camberwell College of Arts (UAL) 2015 - 2016 
BA Illustration and Visual Media
London College of Communication (UAL) 2014 - 2015 
Foundation Diploma in Art and Design London College of Communication (UAL) 2021 Bloodroot, Arusha Gallery, Edinburgh Spring Fling, All Mouth Gallery, London What I See I Will Never Tell, Wilder Gallery, London Safe As Milk, Arusha Gallery, Edinburgh '07', PM/AM Gallery, online exhibition When Shit Hits the Fan Again, Guts Gallery, virtual exhibition via Instagram 2020 Curated for Christmas, All Mouth & Bowes Parris Gallery, London Delphian Open Call 2020, virtual exhibition Cellar Door, APT Gallery, London [postponed] Tender Kith, 155a Gallery, London Hung Up, All Mouth Gallery, The Hackney Tub, London In Response, The Viewing Room Gallery, Blue Shop Cottage, London Anti Freeze, The Viewing Room Gallery, virtual exhibition Curated for Covid, online exhibition When Shit Hits the Fan, Guts Gallery, virtual exhibition via Instagram 2019 Winter Fair, 155a Gallery, London Pop-up Exhibition, Partnership Editions, Islington Square, London 2018 Evening Standard Art Prize (shortlisted), National Gallery, London Modernist Miniaturists, Benk + Bo, London Affordable Art Fair (Battersea) recent graduates show, London Oh, What a Tangled Web we Weave, Take Courage Gallery, London About the Postcards These works are imagined scenes inspired by films, life and memory. Watercolour on paper works act as a preparatory method used to conjure up ideas for larger works on canvas. So these become the most raw form of a new work; experimenting with dry brushstrokes and pools of colour to create a semi abstracted flow to the painting.
Lot 393
James Owens Holding onto her love in the soil, 2021 Watercolour on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) James Owens' (B. 1995) work depicts imagined folk-like scenes, largely inspired by his upbringing spent between the countryside and a Yorkshire fisherman's village. His work gathers past, present and imagined scenes to form new narratives, blurring the boundaries between memory and contemplation. The works offer moments of liminality which draw from external visual references such as 1920/30's Disney animation. Nature and its mysteries also come to play, revealed through flowers which sway sinisterly and knowing eyes which seem to have it all sussed out. Meanwhile, curling blades of grass peer curiously across the canvas, weighed down by water droplets, drooping as though upset. Though inherently figurative, it isn't hard to feel like nature has the upper hand in Owens' works. 2016 - 2018
 BA Illustration
Camberwell College of Arts (UAL) 2015 - 2016 
BA Illustration and Visual Media
London College of Communication (UAL) 2014 - 2015 
Foundation Diploma in Art and Design London College of Communication (UAL) 2021 Bloodroot, Arusha Gallery, Edinburgh Spring Fling, All Mouth Gallery, London What I See I Will Never Tell, Wilder Gallery, London Safe As Milk, Arusha Gallery, Edinburgh '07', PM/AM Gallery, online exhibition When Shit Hits the Fan Again, Guts Gallery, virtual exhibition via Instagram 2020 Curated for Christmas, All Mouth & Bowes Parris Gallery, London Delphian Open Call 2020, virtual exhibition Cellar Door, APT Gallery, London [postponed] Tender Kith, 155a Gallery, London Hung Up, All Mouth Gallery, The Hackney Tub, London In Response, The Viewing Room Gallery, Blue Shop Cottage, London Anti Freeze, The Viewing Room Gallery, virtual exhibition Curated for Covid, online exhibition When Shit Hits the Fan, Guts Gallery, virtual exhibition via Instagram 2019 Winter Fair, 155a Gallery, London Pop-up Exhibition, Partnership Editions, Islington Square, London 2018 Evening Standard Art Prize (shortlisted), National Gallery, London Modernist Miniaturists, Benk + Bo, London Affordable Art Fair (Battersea) recent graduates show, London Oh, What a Tangled Web we Weave, Take Courage Gallery, London About the Postcards These works are imagined scenes inspired by films, life and memory. Watercolour on paper works act as a preparatory method used to conjure up ideas for larger works on canvas. So these become the most raw form of a new work; experimenting with dry brushstrokes and pools of colour to create a semi abstracted flow to the painting.
Lot 51
Yuriko Kawase Leaf, 2021 Sumi Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Yuriko Kawase is a sumi-e artist based in Tokyo, Japan. Her art is expressed through equal parts sumi, water, paper, and inspiration, seeking to offer a simple worldview that is gentle, yet impressive; strong, yet delicate - a style that remains quietly in one's mind. About the postcard artworks Sumi + water + paper = very simple. (Sometimes I use pigments) Sumi's paintings I draw are a unique world. There is no composition or draft because I write it all at once with inspiration. Cut out the space-time at that time and put Sumi soaked in water on the paper from the brush. Sumi who got the life spreads on the fibers and begins to swim. The blurred color leaves a rich gradation on the paper. The color changes over time and she Sumi calms her down. Distortion is Sumi's own work, and the end of the collaboration with water permeates the paper and is there. The simple and delicate style remains quiet in your mind. A gentle, minimal but strong message will be downloaded to the viewer's mind. About learned painting by myself. living by drawing with the support of people all over the world who like my paintings. The only art supplies are sumi, water and paper. I've loved drawing since I was a kid. The paintings have always saved me from reality. It was like opening the door from a storm and providing a shelter. Exhibitions 2019 ' February New York Pleiades Gallery Smiley Exhibition April Los Angeles Gallery Art House Early Summer Exhibition September Spain Madrid Biennale 2019 Textiles Division October New York Van Der Plus Gallery Harvest Moon Exhibition November Participated in the Russian magazine "Alpha Magazine" 2019-2020' first issue No. 4 "Overcoming Fear" as the first Japanese painter. Besides, he is the product design of Holmes & Marchant the product design of IKEA 2020 ' April The exhibition at Gallery Mona Lisa in Paris, France was canceled due to Covid19. July Japan ink painting and poetry collection "Octavia 598" will be on sale for a limited time.　 End of sale. October: Currently participating in an online gallery in the "Gallery M & A　 Art Agent" art book in Sweden P17. Until mid-January hhttps://gallerym.se/art-magazine/ December San Francisco art magazine "Venti Journal" Contributed a statement about the definition of works and art and the production of works in the first issue No. 3. 2021' January Cooperated in providing the artwork" Feather "to the British charity" DrawFor "#DrawForYoungLives. The proceeds of the work will be used to help prevent suicide among young people in the UK. Hampstead Art School in London, England. My work will be an issue in the online class of Foundation students.
Lot 52
Yuriko Kawase Leaf, 2021 Pigment on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Yuriko Kawase is a sumi-e artist based in Tokyo, Japan. Her art is expressed through equal parts sumi, water, paper, and inspiration, seeking to offer a simple worldview that is gentle, yet impressive; strong, yet delicate - a style that remains quietly in one's mind. About the postcard artworks Sumi + water + paper = very simple. (Sometimes I use pigments) Sumi's paintings I draw are a unique world. There is no composition or draft because I write it all at once with inspiration. Cut out the space-time at that time and put Sumi soaked in water on the paper from the brush. Sumi who got the life spreads on the fibers and begins to swim. The blurred color leaves a rich gradation on the paper. The color changes over time and she Sumi calms her down. Distortion is Sumi's own work, and the end of the collaboration with water permeates the paper and is there. The simple and delicate style remains quiet in your mind. A gentle, minimal but strong message will be downloaded to the viewer's mind. About learned painting by myself. living by drawing with the support of people all over the world who like my paintings. The only art supplies are sumi, water and paper. I've loved drawing since I was a kid. The paintings have always saved me from reality. It was like opening the door from a storm and providing a shelter. Exhibitions 2019 ' February New York Pleiades Gallery Smiley Exhibition April Los Angeles Gallery Art House Early Summer Exhibition September Spain Madrid Biennale 2019 Textiles Division October New York Van Der Plus Gallery Harvest Moon Exhibition November Participated in the Russian magazine "Alpha Magazine" 2019-2020' first issue No. 4 "Overcoming Fear" as the first Japanese painter. Besides, he is the product design of Holmes & Marchant the product design of IKEA 2020 ' April The exhibition at Gallery Mona Lisa in Paris, France was canceled due to Covid19. July Japan ink painting and poetry collection "Octavia 598" will be on sale for a limited time.　 End of sale. October: Currently participating in an online gallery in the "Gallery M & A　 Art Agent" art book in Sweden P17. Until mid-January hhttps://gallerym.se/art-magazine/ December San Francisco art magazine "Venti Journal" Contributed a statement about the definition of works and art and the production of works in the first issue No. 3. 2021' January Cooperated in providing the artwork" Feather "to the British charity" DrawFor "#DrawForYoungLives. The proceeds of the work will be used to help prevent suicide among young people in the UK. Hampstead Art School in London, England. My work will be an issue in the online class of Foundation students.
Lot 53
Yuriko Kawase Feather, 2021 Sumi Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Yuriko Kawase is a sumi-e artist based in Tokyo, Japan. Her art is expressed through equal parts sumi, water, paper, and inspiration, seeking to offer a simple worldview that is gentle, yet impressive; strong, yet delicate - a style that remains quietly in one's mind. About the postcard artworks Sumi + water + paper = very simple. (Sometimes I use pigments) Sumi's paintings I draw are a unique world. There is no composition or draft because I write it all at once with inspiration. Cut out the space-time at that time and put Sumi soaked in water on the paper from the brush. Sumi who got the life spreads on the fibers and begins to swim. The blurred color leaves a rich gradation on the paper. The color changes over time and she Sumi calms her down. Distortion is Sumi's own work, and the end of the collaboration with water permeates the paper and is there. The simple and delicate style remains quiet in your mind. A gentle, minimal but strong message will be downloaded to the viewer's mind. About learned painting by myself. living by drawing with the support of people all over the world who like my paintings. The only art supplies are sumi, water and paper. I've loved drawing since I was a kid. The paintings have always saved me from reality. It was like opening the door from a storm and providing a shelter. Exhibitions 2019 ' February New York Pleiades Gallery Smiley Exhibition April Los Angeles Gallery Art House Early Summer Exhibition September Spain Madrid Biennale 2019 Textiles Division October New York Van Der Plus Gallery Harvest Moon Exhibition November Participated in the Russian magazine "Alpha Magazine" 2019-2020' first issue No. 4 "Overcoming Fear" as the first Japanese painter. Besides, he is the product design of Holmes & Marchant the product design of IKEA 2020 ' April The exhibition at Gallery Mona Lisa in Paris, France was canceled due to Covid19. July Japan ink painting and poetry collection "Octavia 598" will be on sale for a limited time.　 End of sale. October: Currently participating in an online gallery in the "Gallery M & A　 Art Agent" art book in Sweden P17. Until mid-January hhttps://gallerym.se/art-magazine/ December San Francisco art magazine "Venti Journal" Contributed a statement about the definition of works and art and the production of works in the first issue No. 3. 2021' January Cooperated in providing the artwork" Feather "to the British charity" DrawFor "#DrawForYoungLives. The proceeds of the work will be used to help prevent suicide among young people in the UK. Hampstead Art School in London, England. My work will be an issue in the online class of Foundation students.
Lot 54
Yuriko Kawase A Star Plant, 2021 Sumi Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Yuriko Kawase is a sumi-e artist based in Tokyo, Japan. Her art is expressed through equal parts sumi, water, paper, and inspiration, seeking to offer a simple worldview that is gentle, yet impressive; strong, yet delicate - a style that remains quietly in one's mind. About the postcard artworks Sumi + water + paper = very simple. (Sometimes I use pigments) Sumi's paintings I draw are a unique world. There is no composition or draft because I write it all at once with inspiration. Cut out the space-time at that time and put Sumi soaked in water on the paper from the brush. Sumi who got the life spreads on the fibers and begins to swim. The blurred color leaves a rich gradation on the paper. The color changes over time and she Sumi calms her down. Distortion is Sumi's own work, and the end of the collaboration with water permeates the paper and is there. The simple and delicate style remains quiet in your mind. A gentle, minimal but strong message will be downloaded to the viewer's mind. About learned painting by myself. living by drawing with the support of people all over the world who like my paintings. The only art supplies are sumi, water and paper. I've loved drawing since I was a kid. The paintings have always saved me from reality. It was like opening the door from a storm and providing a shelter. Exhibitions 2019 ' February New York Pleiades Gallery Smiley Exhibition April Los Angeles Gallery Art House Early Summer Exhibition September Spain Madrid Biennale 2019 Textiles Division October New York Van Der Plus Gallery Harvest Moon Exhibition November Participated in the Russian magazine "Alpha Magazine" 2019-2020' first issue No. 4 "Overcoming Fear" as the first Japanese painter. Besides, he is the product design of Holmes & Marchant the product design of IKEA 2020 ' April The exhibition at Gallery Mona Lisa in Paris, France was canceled due to Covid19. July Japan ink painting and poetry collection "Octavia 598" will be on sale for a limited time.　 End of sale. October: Currently participating in an online gallery in the "Gallery M & A　 Art Agent" art book in Sweden P17. Until mid-January hhttps://gallerym.se/art-magazine/ December San Francisco art magazine "Venti Journal" Contributed a statement about the definition of works and art and the production of works in the first issue No. 3. 2021' January Cooperated in providing the artwork" Feather "to the British charity" DrawFor "#DrawForYoungLives. The proceeds of the work will be used to help prevent suicide among young people in the UK. Hampstead Art School in London, England. My work will be an issue in the online class of Foundation students.
Lot 262
NO RESERVE Philby (Harry St John Bridger) Arabian Jubilee, first edition, illustrations, original cloth, spine a little faded, 1952 § Lawrence (T.E.) Revolt in the Desert, first American edition, plates, folding map, pictorial endpapers by Eric Kennington, lightly damp-stained at beginning, upper hinge weak, original cloth, rubbed and stained, gouges to spine, New York, 1927 § Scott (Lt.-Cdr. Peter) The Battle of the Narrow Seas, first edition, [1946] § Buchan (John) Memory Hold-the-Door, first edition, 1940 § Churchill (Sir Winston) The Island Race, 1964 § Mandela (Nelson) Conversations with Myself, 2010, illustrations, original cloth, the last with dust-jacket, the first four rubbed; and a quantity of others, miscellaneous, history, biography, art etc., v.s. (c.90)
Lot 293
18th-century oak floor standing corner cupboard, two doors both with single raised and fielded panels highlighted by walnut veneers, upper door with ogee pointed panel, later backboards and shelves constructed from pine.width 70cm (27"), height 200cm (79")Condition report: Offset backboards creating an obtuse cross-section triangle, later replacement bracket feet, overall front of good colour.
Lot 172
Francis Campbell, Oswestry 1768-1841 bracket clock, 8-day movement with repeater striking on a single bell, white painted dial, Roman numerals covered by domed dial glass in brass bezel, mahogany dome top case inlaid with ebony string, each side with brass fish scale fretwork panels all standing on four ball feet.width 26cm (10"), height 42cm (16")Condition report: Some minor cracking to the main case, a small section of wood missing from the door at rear (see photographs for more detailed information).
Lot 180
Hancocks' & Co. London miniature carriage clock, 8-day movement, white enamel dial with Roman numerals contained in brass case with bevelled glass panels. All contained in original leather travel case containing original double-ended brass key.height 7" excluding folding handleCondition report: Case missing original loop handle and sliding door.
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