A Regency Ebonised Striking Table Clock, double fusee movement with backplate signed Anderson, London; together with a later wall bracketThe case needs restoration, case with cracks to the sides and chips in parts, front of the case with cracks to the veneers in parts, the pediment with later corner finials, top handle is missing, front door is not closing correctly at present due to the lock, lock key is missing, front left hand corner of the base with chips and damage, base with very small woodworm holes in parts which appear to be now non active, metal surfaces are discoloured, back door with glass chipped and is sightly bowed, veneer missing to the edge, back door is locked (case keys are missing), dial with small chips in parts to the painted surfaces, signature and place name is faded, other dial markers are faded in parts, movement is dirty and discoloured, movement plate and brackets with small scratches, with pendulum. Later wall bracket with chips and damages.
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A 19th Century Mahogany Display Cabinet, the glazed upper section surmounted by pierced and carved scrollwork and blind fretwork, the lower section with two cupboard doors raised on ball and claw feet, 137cm by 37cm by 217cmSome scuffs to the beading of the cupboard door, generally clean condition througout
A Rover 218 SLD Turbo 1769 cc diesel engined five door hatchback motor car in Nordic Blue, First registered 06/09/1994, registration no. M217 RCJ. Currently SORN'd and the current mileage showing is 102,588. This vehicle is from a deceased estate and was purchased new by the vendor in 1994. N.B. BUYERS PREMIUM ON THIS LOT 10% + V.A.T. (total premium 12% plus specific on-line bidding fees)
A Peugeot 2008 1.6 e-HDi Allure Sport Utility, diesel-engined, 5 speed manual gearbox five-door hatchback motor car in Nimbus Grey, first registered on 30/06/2017, registration no. KJ17 NNC, New M.O.T. until 05/07/2024 with only one advisory regarding some deterioration to the rear brake discs, new front discs and pads were fitted at the testing station due to brake fluctuation. Currently showing only 14,598 miles (Warranted correct by the service history book present and the M.O.T. history. The original receipt and service invoices are also present plus handbooks). Fitted with a tow bar. This car is being sold for a deceased estate and there has only been one owner since new. There are some relatively minor abrasions, mainly to the corners but internally the car smells new and has a virtually new appearance. As would be expected the car drives exactly as it should and is surprisingly rapid. Here arises the opportunity to purchase an economical modern motor car which should provide many years of service. The V5C document is present as are two sets of keys. N.B. BUYERS PREMIUM ON THIS LOT 10+ V.A.T. (total premium 12% plus specific on-line bidding fees).
A Ford Ka Style 1,299 cc petrol-engined three-door hatchback motor car in green. First registered on 04/09/2008, registration n`o. EY58 WPK. Mot'd til until 13/10/2023, currently showing 58,045 miles (warranted correct by the owner and appearing to be corroborated by the DVLA M.O.T. mileage history). The V5C is present as well as current M.O.T. certificate. N.B. BUYERS PREMIUM ON THIS LOT 10% + V.A.T. (total premium 12% plus specific on-line bidding fees). This vehicle is being sold to Close an Estate, has been running well and the sale includes 3/4 tank of fuel.
A Ford Focus Zetec 1,596 cc petrol-engined five-door Estate motor car in silver. First registered 31/01/2003, registration no. GV52 0BK. Fitted with alloy wheels (locking nuts in office). Mot'd til 4th June 2024, currently showing 133,227 miles. The section 6 green slip from the V5C is present as is the 05/06/23 M.O.T. certificate. N.B. BUYERS PREMIUM ON THIS LOT 10% + V.A.T. (total premium 12% plus specific on-line bidding fees).
A Ford Fiesta Ghia 1,388 cc petrol-engined five-door hatch-back motor car in blue. First registered 23/11/2005, registration no. KP55 UXC. Mot'd til 06/07/2024, currently showing 120,175 miles. Has recently had a new battery fitted. The section 10 green slip from the V5C is present as is the 13/06/2023 M.O.T. certificate. N.B. BUYERS PREMIUM ON THIS LOT 10% + V.A.T. (total premium 12% plus specific on-line bidding fees).
Anna Maria Schönrock Woodpecker, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About If one understands figuration and abstraction as two possible poles between which contemporary painterly practices can move, then Anna Maria Schönrock chooses a space in between, a third way, a back door - a form of transition between the two poles that is always in the making. The forms either dissolve through the application of paint - towards abstraction - or peel out through the application of paint - towards figuration. Painting thus becomes an experimental arrangement, similar to a research trip or an experimental arrangement, where the approximate goal is fixed but the path is not yet clear (...) Text by Ann-Kathrin Eichhoff Education 2008 - 2014 Studies at the Academy of Fine Arts Nuremberg / Fine Arts with focus on painting, class of Prof. Ralph Fleck Select Exhibitions/Awards 2023 - The stage is yours (solo) - Karpuchina Gallery, Prague 2022 - Outside the line, z2o Gallery Sara Zanin, Rome 2021 - Raum für Malerei - Kunstmuseum Erlangen 2020- Unstable grounds, Galeriehaus Nord e.V. (solo) 2018- Le bruit - Kunstverein Kohlenhof e.V., Nürnberg (solo) 2017 - Small, Purdy Hicks Gallery, London Gallery Representation Purdy & Hicks Gallery, London Statement about AOAP Submitted Artwork The works submitted for AOAP show two central European birds - two woodpeckers - birds are a recurring motif in my work reflecting a fascination for nature and a preoccupation with the conflict of the human-nature relationship. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Kora Moya Rojo Bloom, 2023 Watercolour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kora Moya Rojo (b. 1993, Spain) lives and works in London. She graduated with a BA in Fine Art from the University of Murcia (Murcia, Spain, 2015). Kora creates paintings and sculptures that revolve around fluidity, nostalgia, and womanhood. Rendered in a pulsating palette of cold blues and warm reds, her vibrant works infuse autobiographical, historical, and religious iconographies with a rural sensibility. Examining the complex effects of female oppression and urban migration, she investigates personal displacement and national identity in symbolic scenarios that overflow with utopian potential. Digitally reconstructing dreams, imaginations and memories into enchanting drawings and canvases, Moya Rojo creates eerie worlds that inhabit the liminal space between the conscious and the unconscious. Her androgynous, embryonic figures stretch beyond the earthly domain to the otherworldly as they hybridize with provincial food, coalesce with existing objects, and mutate with unspecified surroundings. In a continuous metamorphosis, the internal and external forces at play make the familiar foreign, and the foreign disturbingly familiar. Education Fine Arts Degree, University of Fine Arts, Murcia, Spain. Select Exhibitions/Awards SOLO EXHIBITIONS 2023 Solo Show (Upcoming) SELECTED GROUP SHOWS 2023 Between the Bridge and the Door, Pictorum Gallery, London, UK Nature Holds a Mirror, Casa Astrónoma, curated by Ambar Quijano, Mexico City, MEX Yourself in my Shoes, Tube Culture Hall, Milan, ITA CACOTOPIA 07, Annka Kultys, London, UK 2022 Wilderness of Being, curated by Cassandra Bowes, HdM Gallery, London, UK Narratives in Blossoming Vigor, SENS Gallery, Hong Kong, HK Dark Roots, trio show, curated by Elza Meryon, Liliya Art Gallery, London, UK Soho Revue x The Little Scarlett Door, curated by India Rose James, Soho Revue, London, UK Looking Back to Move Forward, curated by Katerina Patsalidou and Mikaella Melanidou, Visual Space, Palia Agora Palouriotissas, CYP Artists for Ukraine Charity Auction, organised by Joséphine Bailey, Procrastinarting_, Online 2021 Realities, curated by Adele Smejkal, The Artistellar, London, UK Christmas Pop-up, curated by Katerina Patsalidou and Mikaella Melanidou, Visual Space, Nicosia, CYP Art for Relief x The Auction Collective Charity Auction, organised by Marie Hilgers, Art for Relief, Online Into The Cosmere, curated by Jack Trodd, Brushes With Greatness, London, UK Euphoric, curated by Joséphine May Bailey, Procrastinarting_, Online Thirty Six Hours Exhibition, curated by Ladies Drawing Clüb, Online Every Woman Biennial, curated by Eddy Grattan Bellew and Ruby Streek, The Copeland Gallery, London, UK ART FAIRS 2023 Art Central Hong Kong, SENS Gallery, Hong Kong RESIDENCIES 2022 COBERTIZO, Jilotepec, MEX 2021 Joya Air, Almería, ESP Statement about AOAP Submitted Artwork The piece I'm donating represents a crucial part in my creative process. All my paintings start with a watercolour study, then followed by layers of acrylic paint and then oil paint to finish off. The red watercolour pencil sketch illustrates the seed of the pieces I create. Following the line of work I'm currently exploring (plants, fruits and nature), the elements in the postcard depict a hybrid between a spiky forbidden fruit from which flower buds are about to blossom. In my work, I'm interested in playing with organic shapes that can be found in nature, relating to the female body and the fluidity of life. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Corrie Wingate The Gleaners, 2023 Ink on watercolour paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About As an artist, my background in travel photography has significantly influenced my artistic vision as a painter. By drawing inspiration from different environments and cultures I continue to work with both the constraints and the freedoms of figuration whilst also exploring the necessary tension inherent in working with chance or the unknown. Observational drawings and photographic imagery often serve as a foundation for creating figurative works that are rich with ambiguity, layers, and expressive mark-making. I apply abstract techniques to develop these works further, seeking to create paintings that offer a deeper emotional and psychological resonance beyond mere literal representation. My painting style is heavily influenced by the German expressionists who demonstrated the emotional impact of color on a viewer. My works often start with a single colour that dictates the tone and mood of the painting, which I then build upon. I also draw inspiration from the creative expression of children's artwork and the colour and light of Kenya, where I founded an art centre and live part time. Recurring themes of place, diaspora, and migration are central to my work. I am fascinated by the complex relationships between people and their environments, and how these relationships are shaped by history, culture, and identity. Whether through the use of colour, texture, or symbolism, I aim to create artworks that not only capture the essence of a place or a culture but also convey the emotions and experiences of the people who inhabit them. Education 2022 Turps Banana art school - Off site 22/23 2021 The Essential school of Painting 2019 The Royal Drawing school summer term 1996 BA Hons Fine Art, Kent Institute of Art and Design Select Exhibitions/Awards SELECTED EXHIBITIONS 2023 'Station Open' Koppel X, London 'Tart Factory', Tart gallery London Turps off-site programme show, Thames-side studios gallery, London 'Visions of Healing' Brushes with greatness, Hallam centre, London 2022 'Arresting images' The Koppel Project Station, London 'Painting open' No Format gallery, London 'Accessible art' Black White gallery, London 'Delphian Open call winners show' Unit 1 gallery, London 'The Little Scarlet Door' curated by India Rose James Soho Revue gallery, London 'Art matters' Mile end pavilion, London AWARDS 2023 The Tagli finalist 01.23 Collection 2022 Delphian gallery Open call winner Statement about AOAP Submitted Artwork Lately, I've been exploring the stories of the Old Testament and their narrative style, which often involve larger-than-life characters and events that capture the imagination. To highlight the significant role of women in history and promote greater appreciation of their experiences, I painted a diorama that depicts the story of Ruth the gleaner. Through these artworks, I aimed to showcase women in central roles and emphasise their valuable contributions to society. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Anna Maria Schönrock Green Woodpecker, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About If one understands figuration and abstraction as two possible poles between which contemporary painterly practices can move, then Anna Maria Schönrock chooses a space in between, a third way, a back door - a form of transition between the two poles that is always in the making. The forms either dissolve through the application of paint - towards abstraction - or peel out through the application of paint - towards figuration. Painting thus becomes an experimental arrangement, similar to a research trip or an experimental arrangement, where the approximate goal is fixed but the path is not yet clear (...) Text by Ann-Kathrin Eichhoff Education 2008 - 2014 Studies at the Academy of Fine Arts Nuremberg / Fine Arts with focus on painting, class of Prof. Ralph Fleck Select Exhibitions/Awards 2023 - The stage is yours (solo) - Karpuchina Gallery, Prague 2022 - Outside the line, z2o Gallery Sara Zanin, Rome 2021 - Raum für Malerei - Kunstmuseum Erlangen 2020- Unstable grounds, Galeriehaus Nord e.V. (solo) 2018- Le bruit - Kunstverein Kohlenhof e.V., Nürnberg (solo) 2017 - Small, Purdy Hicks Gallery, London Gallery Representation Purdy & Hicks Gallery, London Statement about AOAP Submitted Artwork The works submitted for AOAP show two central European birds - two woodpeckers - birds are a recurring motif in my work reflecting a fascination for nature and a preoccupation with the conflict of the human-nature relationship. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Corrie Wingate The Good Shepherd, 2023 Ink on watercolour paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About As an artist, my background in travel photography has significantly influenced my artistic vision as a painter. By drawing inspiration from different environments and cultures I continue to work with both the constraints and the freedoms of figuration whilst also exploring the necessary tension inherent in working with chance or the unknown. Observational drawings and photographic imagery often serve as a foundation for creating figurative works that are rich with ambiguity, layers, and expressive mark-making. I apply abstract techniques to develop these works further, seeking to create paintings that offer a deeper emotional and psychological resonance beyond mere literal representation. My painting style is heavily influenced by the German expressionists who demonstrated the emotional impact of color on a viewer. My works often start with a single colour that dictates the tone and mood of the painting, which I then build upon. I also draw inspiration from the creative expression of children's artwork and the colour and light of Kenya, where I founded an art centre and live part time. Recurring themes of place, diaspora, and migration are central to my work. I am fascinated by the complex relationships between people and their environments, and how these relationships are shaped by history, culture, and identity. Whether through the use of colour, texture, or symbolism, I aim to create artworks that not only capture the essence of a place or a culture but also convey the emotions and experiences of the people who inhabit them. Education 2022 Turps Banana art school - Off site 22/23 2021 The Essential school of Painting 2019 The Royal Drawing school summer term 1996 BA Hons Fine Art, Kent Institute of Art and Design Select Exhibitions/Awards SELECTED EXHIBITIONS 2023 'Station Open' Koppel X, London 'Tart Factory', Tart gallery London Turps off-site programme show, Thames-side studios gallery, London 'Visions of Healing' Brushes with greatness, Hallam centre, London 2022 'Arresting images' The Koppel Project Station, London 'Painting open' No Format gallery, London 'Accessible art' Black White gallery, London 'Delphian Open call winners show' Unit 1 gallery, London 'The Little Scarlet Door' curated by India Rose James Soho Revue gallery, London 'Art matters' Mile end pavilion, London AWARDS 2023 The Tagli finalist 01.23 Collection 2022 Delphian gallery Open call winner Statement about AOAP Submitted Artwork Lately, I've been exploring the stories of the Old Testament and their narrative style, which often involve larger-than-life characters and events that capture the imagination. To highlight the significant role of women in history and promote greater appreciation of their experiences, I painted a diorama that depicts the story of Ruth the gleaner. Through these artworks, I aimed to showcase women in central roles and emphasise their valuable contributions to society. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
A Greek core-formed glass oinochoe Circa late 6th-5th Century B.C.7.8cm highFootnotes:Provenance: Anonymous sale; Christie's, New York, 14 June 1996, lot 150.The Nico F. Bijnsdorp Collection (NFB 020), acquired from the above sale.Published: J. v.d. Groen & H. van Rossum, Romeins Glas uit Particulier Bezit, Utrecht, 2011, p. 16.Exhibited:Museum Dordts Patriciërshuis, Dordrecht, NL, 'Glas Door de Eeuwen Heen', 11 April – 11 November 2018.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
A Roman aquamarine glass two-handled drinking cup Possibly Western Empire, circa early 1st Century A.D.7cm high Footnotes:Provenance:with Archea Ancient Art, Amsterdam.The Nico F. Bijnsdorp Collection (NFB 184), acquired from the above 12 June 2005.Exhibited: Museum Dordts Patriciërshuis, Dordrecht, NL, 'Glas Door de Eeuwen Heen', 11 April – 11 November 2018.Versions of this cup are found with both a single and two handles. For a single-handled cup with four concentric wheel-cut grooves see C. Lightfoot, Ancient Glass in National Museums Scotland, Edinburgh, 2007, p. 79, no. 168.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
A Roman blue-green glass wheel-cut cup Circa 1st Century A.D.6.9cm high Footnotes:Provenance: The Cecil L. Hunt collection.Anonymous sale; Bonhams; London, 4 July 1996, lot 275 (part lot).The Nico F. Bijnsdorp Collection (NFB 036c), acquired from the above sale.Exhibited:Museum Dordts Patriciërshuis, Dordrecht, NL, 'Glas Door de Eeuwen Heen', 11 April – 11 November 2018.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
A Roman olive green glass four-sided sprinkler flask Circa 2nd-3rd Century A.D.9.2cm high Footnotes:Provenance:with Galerie Günter Puhze, Freiburg (katalog 17, 2003, no. 186). The Nico F. Bijnsdorp Collection (NFB 149), acquired from the above 16 April 2003. Exhibited:Museum Dordts Patriciërshuis, Dordrecht, NL, 'Glas Door de Eeuwen Heen', 11 April – 11 November 2018.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
A Roman ribbed glass jar with zigzag trail Circa late 3rd-4th Century A.D.9.3cm high Footnotes:Provenance:Anonymous sale; Christie's, London, 3 July 1996, lot 370 (part lot). The Nico F. Bijnsdorp Collection (NFB 032a), acquired from the above sale. Exhibited:Museum Dordts Patriciërshuis, Dordrecht, NL, 'Glas Door de Eeuwen Heen', 11 April – 11 November 2018.For a similar jar with zig-zag trail decoration see D. Whitehouse, Roman Glass in the Corning Museum, vol. II, New York, 2001, no. 686, p. 161. The above example has a ribbed body while the Corning flask has a zig-zag ribbed body, both of which are a more unusual combination.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
A Roman turquoise-green glass tall jug Circa 4th Century A.D.25.8cm high Footnotes:Provenance: The Nimbus Collection of Ancient Glass The Property of a Private Collector; Sotheby's, London, 12 June 1997, lot 246.The Nico F. Bijnsdorp Collection (NFB 059), acquired from the above sale.Exhibited: Museum Dordts Patriciërshuis, Dordrecht, NL, 'Glas Door de Eeuwen Heen', 11 April – 11 November 2018.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
A Roman olive-green glass tall jug Circa 4th Century A.D.20.2cm high Footnotes:Provenance:Anonymous sale; Sotheby's, New York, 17 December 1997, lot 23.The Nico F. Bijnsdorp Collection (NFB 070), acquired from the above sale.Exhibited:Museum Dordts Patriciërshuis, Dordrecht, NL, 'Glas Door de Eeuwen Heen', 11 April – 11 November 2018.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
A Bavarian, late 19th century, dark oak glazed cupboard profusely carved in the baroque revival taste with the upper glazed door flanked by two carved cherubs with grotesque masks above and below, the lower glazed door flanked by carved musicians, with carved egg and dart and dog tooth cornice, three shelves to the upper cabinet and a half shelf to the lower cabinet and standing on four heavily carved legs, 30¾ x 21¾in. (78.1 x 55.2cm.), 84in. (213.3cm.) high.
A George III mahogany-cross-banded oak chest of drawers the rectangular top over a single short drawer and a bank of three graduated crossbanded drawers with swan necked handles, a single cupboard door on the left opens to shelf storage, flanked by fluted quarter columns and raised on bracket feet, 45¼ x 21¼in. (114.9 x 54.6cm.), 32½in. (82.5cm.) high, alterations to top. *Alterations to top veneer
A Victorian carved oak open bookcase the raised back with floral and Green Man carving over a rectangular top with chip carved shelving flanking a small cupboard door to storage, flanked by lions head and foliate carved pilasters, raised on a plinth base, 42 x 12½in. (106.6 x 31.7cm.), 52in. (132cm.) high. *Fading and wear to shelves plus cup rings, no key.
A George III oak and mahogany 8 day longcase clock by John Kent of Manchester the bell strike movement with four knopped pillars, fronted by a square brass dial with gilt scroll spandrels, silvered Roman chapter ring and signed, silvered centre engraved with a bird, rocaille, foliage and flowers, with subsidiary seconds dial and date arch, the case with swans neck pediment with enamelled urn mounts, over a swag painted frieze, raised on spiral carved columns, the trunk with serpentine top door flanked by fiddleback mahogany quarter columns, on bracket feet, 89in. (226cm.) high.
AN OAK CASED LONGCASE CLOCK with 8-day Westminster chime movement, the hood with spiral turned pilasters, the trunk with glazed door, 42cm wide 188cm high Condition Report : good condition, no signs of worm or other damage. with two case keys, pendulum, two weights Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
A 1960S TEAK 'RETRO' SIDEBOARD fitted with four drawers flanked to one side with drop-donw cupboard, the other with two door cupboard, on tapering supports, 222cm wide 46cm deep 72cm high Condition Report : good condition, a bit dusty but no real damage Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
A fine Gothic Revival oak ebonised and inlaid side cabinet in the manner of Charles Bevan, the shaped fossilised marble top above quatrefoil decorated frieze centred with a carved owl, with glazed door flanked by cluster column with angled inlaid side panels to tapering lobed feet, height 97cm, width 94cm, depth 48cm.
KENDAL MILNE; a late 19th century carved walnut wardrobe with moulded cornice and central carved panel above a single bevelled mirrored door flanked by two carved and panelled doors, width 188cm, depth 61cm.Condition Report: Hanging rail (space) behing mirrored and panelled door. Scuffs, scratches and marks throughout. Losses to timber in parts.
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