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Lot 2221
A Biedermeier mahogany armoire, the moulded cornice above a pair of arched panel doors, on turned legs, 179cm wide x 216cm high. Condition Report Old marks and scratches, chip to the veneer on the bottom left had side and the top left corner of the left door, there are warps and cracks to both doors.The doors do open. Multiple damages and small losses. The interior is tatty. Needs restoration.
Lot 596
EFE - A collection of approximately 32 boxed EFE buses, lorries and cars. Lot includes EFE #15103 National Long 2 Door Bus 'Northern'; #15601 Routemaster 'BOAC - London Transport'; #13901 Lodekka Bus 'Bristol City' and similar. models appear to be in Excellent - Mint condition in Poor boxes with storage wear and damage.
Lot 662
Lansdowne Models - A boxed Lansdowne Models LDM25 1954 Singer SM Roadster Limited Edition made to commemorate '30 Years of the Maidenhead Static Model Club Christmas 1999'. The model number 26 in a limited run, is in red with the number 26 on its door panel and features the MSMC logo on its boot. The model which appears in Mint condition comes with its certificate and bagged windscreen, and is presented within an Excellent overall cardboard box with some minor wear.
Lot 181
Lisa Ivory Motherhood, 2021 Wood Engraving (AP) Signed verso 15 x 10cm (5¾ x 3¾ in.) As both myth and symbol, the Wild Man could be both savage and sublime, evoke fear and admiration, and represent our antithesis and ideal. It is a universal condition , as evident within "civilization" as without. Ivory's abject aberrations are exiles from this dark, unsettling sensibility. Ivory's work uses a bestiary that describes Everyman's woes-his trials and travails, failures and flailing. A Wild Man, Savage Woman and feral Child are positioned as the flawed hero and the plight of the Outsider. The monstrous; primitive, irrational Wild man is at once our fall guy, our belonging and our otherness. This plight is shared by the Foundling, the Waif, the Abandoned and the fallen woman. The Outsiders are victims of their own innocence (seduction, rape, abandonment) or their own experience (Ignorance, carnality, sensuality). This work has a natural conversation with the innocence and experience of William Blake's Lost Girls and Boys and the stuff that small (and big) children worry about...what looks through the window at night or claws at your door. Lost and feral babes allegorise our animality. Man and beast meld as a medieval drollery. Education Foundation Course, Saint Martins School of Art, London Bachelor of Arts (Hons) Fine Art, Painting, Saint Martins School of Art, London Exhibitions include: Every Day, Terrace Gallery, 2020, London Savage Gardens, solo show, 2020, Pamela Salisbury Gallery, New York Two Fold, 2019, OA Gallery, Salford Mythos, 2018, Charlie Smith London National Original Print Exhibition 2017, London Vice, Malice, Lust and Cunning, solo show, 2017, Lubomirov-Angus-Hughes Gallery, London Antennae, Platform Projects, 2017, Athens National Original Print Exhibition 2016, London Sixty, Art-Athina Platform Projects 2016 Hundreds and Thousands, Lubomirov-Angus-Hughes Gallery, 2016 London The British Connection, 2015 Pori Art Museum, Finland Five Paintings at The Three Crowns 2015, London Limited Editions 2015, Lubomirov-Easton, London Bad Behaviour 2014, Brixton East Gallery, London Neo:Print Prize 2014, neo:gallery, Bolton The Whole Thing's Coming Out of the Dark, Angus-Hughes Gallery, London Printjam 2014, Art Bermondsey, London A5-Platform Projects@Art Athina 2014, Lubomirov-Easton, Athens Void Open 2013, Void Gallery, London Untitled Male Id, Angus-Hughes Gallery, London Blind Date, Presented by ALISN, Supermarket 2013- Independent Art Fair, Stockholm Soul Meat, Lion and Lamb Gallery, London Temple of the Occult, Norman Rea Gallery, York Big Deal Sexy100, Wall to Wall, London, curated by STIMULUS LTD Scope Basel 2011, Presented by Guillochon Gallery London, Basel The Great Alonso, Primo Alonso, London City Hobgoblins, Angus-Hughes Gallery, London Freaks, Shoreditch Town Hall, London The Discerning Eye, Mall Galleries, London Sideshow, Primo Alonso, London Start Your Collection, Contemporary Arts Projects, London Wish You Were Here 3, A.I.R Gallery, New York Kindness of Strangers, The Helm, Washington ArtWorks Open, Barbican Arts Trust Project Space, London
Lot 182
Lisa Ivory Offering, 2021 Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) As both myth and symbol, the Wild Man could be both savage and sublime, evoke fear and admiration, and represent our antithesis and ideal. It is a universal condition , as evident within "civilization" as without. Ivory's abject aberrations are exiles from this dark, unsettling sensibility. Ivory's work uses a bestiary that describes Everyman's woes-his trials and travails, failures and flailing. A Wild Man, Savage Woman and feral Child are positioned as the flawed hero and the plight of the Outsider. The monstrous; primitive, irrational Wild man is at once our fall guy, our belonging and our otherness. This plight is shared by the Foundling, the Waif, the Abandoned and the fallen woman. The Outsiders are victims of their own innocence (seduction, rape, abandonment) or their own experience (Ignorance, carnality, sensuality). This work has a natural conversation with the innocence and experience of William Blake's Lost Girls and Boys and the stuff that small (and big) children worry about...what looks through the window at night or claws at your door. Lost and feral babes allegorise our animality. Man and beast meld as a medieval drollery. Education Foundation Course, Saint Martins School of Art, London Bachelor of Arts (Hons) Fine Art, Painting, Saint Martins School of Art, London Exhibitions include: Every Day, Terrace Gallery, 2020, London Savage Gardens, solo show, 2020, Pamela Salisbury Gallery, New York Two Fold, 2019, OA Gallery, Salford Mythos, 2018, Charlie Smith London National Original Print Exhibition 2017, London Vice, Malice, Lust and Cunning, solo show, 2017, Lubomirov-Angus-Hughes Gallery, London Antennae, Platform Projects, 2017, Athens National Original Print Exhibition 2016, London Sixty, Art-Athina Platform Projects 2016 Hundreds and Thousands, Lubomirov-Angus-Hughes Gallery, 2016 London The British Connection, 2015 Pori Art Museum, Finland Five Paintings at The Three Crowns 2015, London Limited Editions 2015, Lubomirov-Easton, London Bad Behaviour 2014, Brixton East Gallery, London Neo:Print Prize 2014, neo:gallery, Bolton The Whole Thing's Coming Out of the Dark, Angus-Hughes Gallery, London Printjam 2014, Art Bermondsey, London A5-Platform Projects@Art Athina 2014, Lubomirov-Easton, Athens Void Open 2013, Void Gallery, London Untitled Male Id, Angus-Hughes Gallery, London Blind Date, Presented by ALISN, Supermarket 2013- Independent Art Fair, Stockholm Soul Meat, Lion and Lamb Gallery, London Temple of the Occult, Norman Rea Gallery, York Big Deal Sexy100, Wall to Wall, London, curated by STIMULUS LTD Scope Basel 2011, Presented by Guillochon Gallery London, Basel The Great Alonso, Primo Alonso, London City Hobgoblins, Angus-Hughes Gallery, London Freaks, Shoreditch Town Hall, London The Discerning Eye, Mall Galleries, London Sideshow, Primo Alonso, London Start Your Collection, Contemporary Arts Projects, London Wish You Were Here 3, A.I.R Gallery, New York Kindness of Strangers, The Helm, Washington ArtWorks Open, Barbican Arts Trust Project Space, London
Lot 183
Lisa Ivory Leader, 2021 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) As both myth and symbol, the Wild Man could be both savage and sublime, evoke fear and admiration, and represent our antithesis and ideal. It is a universal condition , as evident within "civilization" as without. Ivory's abject aberrations are exiles from this dark, unsettling sensibility. Ivory's work uses a bestiary that describes Everyman's woes-his trials and travails, failures and flailing. A Wild Man, Savage Woman and feral Child are positioned as the flawed hero and the plight of the Outsider. The monstrous; primitive, irrational Wild man is at once our fall guy, our belonging and our otherness. This plight is shared by the Foundling, the Waif, the Abandoned and the fallen woman. The Outsiders are victims of their own innocence (seduction, rape, abandonment) or their own experience (Ignorance, carnality, sensuality). This work has a natural conversation with the innocence and experience of William Blake's Lost Girls and Boys and the stuff that small (and big) children worry about...what looks through the window at night or claws at your door. Lost and feral babes allegorise our animality. Man and beast meld as a medieval drollery. Education Foundation Course, Saint Martins School of Art, London Bachelor of Arts (Hons) Fine Art, Painting, Saint Martins School of Art, London Exhibitions include: Every Day, Terrace Gallery, 2020, London Savage Gardens, solo show, 2020, Pamela Salisbury Gallery, New York Two Fold, 2019, OA Gallery, Salford Mythos, 2018, Charlie Smith London National Original Print Exhibition 2017, London Vice, Malice, Lust and Cunning, solo show, 2017, Lubomirov-Angus-Hughes Gallery, London Antennae, Platform Projects, 2017, Athens National Original Print Exhibition 2016, London Sixty, Art-Athina Platform Projects 2016 Hundreds and Thousands, Lubomirov-Angus-Hughes Gallery, 2016 London The British Connection, 2015 Pori Art Museum, Finland Five Paintings at The Three Crowns 2015, London Limited Editions 2015, Lubomirov-Easton, London Bad Behaviour 2014, Brixton East Gallery, London Neo:Print Prize 2014, neo:gallery, Bolton The Whole Thing's Coming Out of the Dark, Angus-Hughes Gallery, London Printjam 2014, Art Bermondsey, London A5-Platform Projects@Art Athina 2014, Lubomirov-Easton, Athens Void Open 2013, Void Gallery, London Untitled Male Id, Angus-Hughes Gallery, London Blind Date, Presented by ALISN, Supermarket 2013- Independent Art Fair, Stockholm Soul Meat, Lion and Lamb Gallery, London Temple of the Occult, Norman Rea Gallery, York Big Deal Sexy100, Wall to Wall, London, curated by STIMULUS LTD Scope Basel 2011, Presented by Guillochon Gallery London, Basel The Great Alonso, Primo Alonso, London City Hobgoblins, Angus-Hughes Gallery, London Freaks, Shoreditch Town Hall, London The Discerning Eye, Mall Galleries, London Sideshow, Primo Alonso, London Start Your Collection, Contemporary Arts Projects, London Wish You Were Here 3, A.I.R Gallery, New York Kindness of Strangers, The Helm, Washington ArtWorks Open, Barbican Arts Trust Project Space, London
Lot 349
Janet Archer Painted Door, Sana'a Yemen (1992), 2020 Acrylic and Coloured Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Janet Archer was born in Cullercoats, Northumberland, in the second quarter of 1942, daughter of George Archer and his wife Isabel, née Butchart. Education She was educated at Tynemouth Grammar School and Newcastle College of Art, travelled extensively in Europe, Arabia and Asia, and spent 14 years as a freelance illustrator based in London, working for the Radio Times, illustrating a number of books and creating a poster for London Transport in 1970. From the mid-70s she has worked in animation, beginning with the 1974 short film Lautrec.
Lot 136
A CARVED OAK WOODEN CABINET DOOR FROM THE FURHERBUNKER - HITLER"S BUNKER. Solid Oak Door, with carved double, headed Reichsadler above the date of 1648. The door was brought back by Dr R.C.H.Tripp, M.A, M.B, B.CHIR, who as a Wing Commander serving with the RAF at the end of the Second World War, was investigating possible war crimes. Reginald Christopher Howard Tripp was born on 16th January 1910 in Penfold, Somerset, educated at Cambridge University, becoming a University Air Training Squadron member. He served in the RAF as a Doctor and Flight Surgeon during the Second World War. As part of a team of Doctors and Research Scientists, Tripp was tasked with collecting evidence from Concentration Camps and institutions that had carried out experiments on Jewish people and the other groups persecuted under the Nazi regime, such as Roma Gipsies and Russian POW'S. Dr Tripp's son provided the following testimony on the provenance of the door. ' He was in berlin shortly after Adolf Hitler committed suicide on 30th April 1945. My Father and his team were asked to inspect Hitler's underground Bunkerto gather any potential evidence. The Russians had already looted the building, and in Hitler's quarters, they had broken into a drinks cupboard. One of the doors was lying on the floor, and my Father kept it as a memento. It has remained with my family to this day.' 47cm x 40cm
Lot 2036
A Nathan teak sideboard, late 20th Century Retro, with a drop down section to centre and two flanking cupboard doors, measuring 83cm high, 183cm wide, 45cm deep; together with a matching side unit, having a single door and a single double depth drawer and a cupboard below, 75cm high, 100cm wide, 46cm deep (2)
Lot 2092
A Georgian style mahogany bow fronted sideboard, three drawers to centre flanked by two doors, the right door fitted with cellarette section, splash back, raised on square tapered legs, measuring 114cm high, 168cm wide, 62cm deep; together with a Georgian style mahogany corner cabinet, with two glazed doors, brushing slide, two doors below, 189cm high, 88cm wide, 52cm deep, 63cm into corner (2)
Lot 621
A PAIR OF HEAVY GILDED BRASS CHURCH ALTAR GATES WITH HINGE POSTS, having mahogany top edge, solid brass frames with central M motif and arched and twisted columns, the door pillars made of solid brass and gilded, total width of doors 143 cm, H 61 cm, D 12 cm, hinge pillars approx W 10 cm, H 82 cm, D 9 cmApprox total weight is 52 kg
Lot 672
A 19TH CENTURY SCOTTISH MAHOGANY LONGCASE CLOCK BY JAMES WISEMAN OF HAMILTON, the painted and gilt circular dial with subsidiary dials for seconds and days, the eight day movement striking on a bell, drum head case over tapering trunk with long waisted door, raised on a plinth base, H 204 cm, twin weights and pendulum
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