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Lot 295
A collection of Halcyon Days enamel boxes, to include: a circular enamel box, The Times 1785-1985, 6.5cm (2 1/2in) diameter; an egg shaped box, painted with birds among tress, 6cm (2 1/4in) high; a similar smaller example, 3.5cm (1 1/4in) high; A Year To Remember example 1999, 5.5cm (2 1/4in) long; together with four other Halycon Days boxes; and a silver coloured oval box, 4cm (1 1/2in) long Condition Report: There is no condition report available for this lot and is sold as seen Condition Report Disclaimer
Lot 42
A pair of Japanese cloisonné vases, brightly enamelled on a brown ground, 12.5cm high, Meiji-Taisho Era and a pair of Chinese silk paintings, first half of 20th century, 17cm x 18cm, framed (4) Condition Report: one vase with small area of enamel loss approximately 3mm x 3mm and another area of loss approximately 1mmx 1mm otherwise okay the silk paintings unexamined out of frames but some stains to surface are visible Condition Report Disclaimer
Lot 910
9ct gold case open face keyless gents pocket watch: Retailed by G H Bird in original presentation box. Swiss 7 jewel movement in English made case. Gross weight 66.1g, diameter of case 50mm. Winds, sets, ticks and runs down keeping reasonable time, at time of lotting. Enamel dial in good condition, case clean but with a few of the very lightest of dents to reverse, on visible in certain light / angles.
Lot 995
Group of 9ct gold jewellery and other silver items: Includes 9ct hallmarked white stone cluster ring, small 9ct bracelet, 3 pairs & one odd earrings, yellow coloured metal red & white stone ring, gross weight 13.5 g including stones, together with 9ct & silver ring, silver & enamel brooch (maker TLM) and silver plated nurses buckle.
Lot 62
VICTORIAN SILVER CASED POCKET WATCH the white enamel dial with Roman numerals and subsidiary seconds dial marked 'John Walker, 19772', London hallmarks for 1883; together with a silver double Albert chain with T-bar and medal fob, and a silver single Albert chain with T-Bar, total weight of both approximately 69.5 grams; and two silver pocket watch cases, one Glasgow 1881 and the other London 1927, total weight of the two cases approximately 53.1 grams
Lot 92
GOOD SELECTION OF SILVER JEWELLERYincluding three identity style bracelets, a large locket and bow brooch, three Saint Christopher pendants, a pair of black enamel set earrings, a silver medal fob with gold and enamel detail, various neck chains and bracelets; together with a pair of fourteen carat gold flower design earrings set with seed pearls, and a nine carat gold and silver chain, 1 box
Lot 102
TEN CARAT GOLD PLATED SEKONDA POCKET WATCHwith nineteen jewel movement and made in the USSR, the white enamel dial with Roman numerals and date aperture at 3; together with another similar gold plated Oris pocket watch with Arabic numerals and geometric engraved decoration to the reverse, both with top winders (2)
Lot 142
SELECTION OF SILVER SOUVENIR AND OTHER TEASPOONSincluding a set of six Thai spoons with deity decorated finials; various with enamel finials including Salzburg, Berchtesgaden, Aachen, Hong Kong and Yokohama; a Dutch spoon for Noordwijk with spinning windmill sails; one with Perth coat of arms, etc. (24)
Lot 2031
A Chinese bronze and Champlevé enamel two-handled vase,19th century, of bottle form, worked with a band of Taotie masks above lappets, 31cm high; together with a circular bronze plaque decorated in relief with cranes and a tortoise beside pine and bamboo, 11.5cm diameter, (2). Condition Report Some losses and pitting to the enamels. No base plate.
Lot 333
Alice Paz Untitled, 2000 TBC Signed verso 10 x 15cm (3¾ x 5¾ in.) Alicia Paz's paintings, collages and standing figures deal primarily with identity and the notion of a divided subject/author, and explore the mutability of subjectivity. Paz focuses on the female figure: the Self is experienced and presented as multiple, paradoxical, and in flux. Inhabiting fantastical and exotic landscapes, Paz's feminine subjects become fused and combined with organic life. Strange and unsettling visions of tree-women and monster-women also represent the fusion of the Subject with painting itself: she often depicts amphibian or plant-like figures "weeping" pigment, their limbs, hair, and various ornamental accoutrements mud-caked and dripping, as if extracted from a colourful, post-cognitive swamp. Her work at times incorporates elements taken from the applied and decorative arts, using these registers as a vehicules for intertwining narratives. Other recent subjects include cultural hybridity and representations of family, exploring the complexities of kinship and lineage in a globalized world. Education Paz graduated from U.C. Berkeley, ENSBA-Paris, Goldsmiths College, and Royal College of Art, London. Exhibitions Alicia Paz is currently exhibiting her work at the FRAC Ile de France, Château de Rentilly, as part of the group exhibition ""Le Cabaret du Néant"". Up-coming projects include "Life Stories", a group exhibition at Chatsworth House, UK, and a solo presentation at the Maison de l'Amérique Latine in Paris. Collaborative projects scheduled for 2021 include a show at the Beecroft Gallery in Southend-on-Sea, as part of Metal's Thames Estuary Festival, as well as at 20-21 Visual Arts Centre in North Lincolnshire, UK. Paz has had several solo exhibitions in the UK, France, Germany, Mexico, and Argentina, most recently at the Museo Leonora Carrington in San Luis Potosí, Mexico (2019), and also at Kunstmuseum Magdeburg, Germany (2016). The latter was accompanied by a 96-page bilingual monograph published by Verlag für Moderne Kunst, Vienna. As a multi-cultural artist, Paz's work was included in the group exhibit Tous, des sang-mêlés, held at MACVAL, Vitry-sur-Seine, France (2017). Earlier solo projects include an exhibit at Dukan Gallery in Leipzig (2014), Mexican Cultural Institute in Paris (2013), Pippy Houldsworth Gallery, London (2006) and Ruth Benzacar Gallery in Buenos Aires (2005). A semi-retrospective exhibit of her work was featured in L.A.C. Sigéan in collaboration with FRAC Occitanie (2010). Paz has also participated in various international painting survey exhibits such as Heute. Spektrum. Malerei. at Kunstmuseum Magdeburg (2012) as well as Slow Magic, Contemporary Approaches to Painting at the Bluecoat Gallery, Liverpool (2009). Between 1997 and 2002 Alicia Paz was represented by Espace d'Art Yvonamor Palix (Paris, Mexico City) along with artists Orlan, Sandy Skoglund, Aziz + Cucher, Studio Orta, and Duncan Wylie, among others. Paz's work is part of various international public and private collections and has been the subject of numerous catalogues and publications; her work has has been reviewed/featured widely (Art News, Art Press, Modern Painters, Art Forum, Turps Banana, The Guardian, Le Monde, Libération, Beaux-Arts Magazine, New York Times, Reforma, etc...). In August 2017 Paz unveiled a public sculpture commission at Kunstmuseum Magdeburg, titled Insel der Puppen (Island of Dolls), in steel and enamel. About the postcard artworks These are maquettes I developed in preparation for paintings, dating from 2000. For many years I have been interested representations of the ""artist figure"", allegories of painting, and gender relations between subject and author.
Lot 334
Alice Paz Untitled, 2000 TBC Signed verso 10 x 15cm (3¾ x 5¾ in.) Alicia Paz's paintings, collages and standing figures deal primarily with identity and the notion of a divided subject/author, and explore the mutability of subjectivity. Paz focuses on the female figure: the Self is experienced and presented as multiple, paradoxical, and in flux. Inhabiting fantastical and exotic landscapes, Paz's feminine subjects become fused and combined with organic life. Strange and unsettling visions of tree-women and monster-women also represent the fusion of the Subject with painting itself: she often depicts amphibian or plant-like figures "weeping" pigment, their limbs, hair, and various ornamental accoutrements mud-caked and dripping, as if extracted from a colourful, post-cognitive swamp. Her work at times incorporates elements taken from the applied and decorative arts, using these registers as a vehicules for intertwining narratives. Other recent subjects include cultural hybridity and representations of family, exploring the complexities of kinship and lineage in a globalized world. Education Paz graduated from U.C. Berkeley, ENSBA-Paris, Goldsmiths College, and Royal College of Art, London. Exhibitions Alicia Paz is currently exhibiting her work at the FRAC Ile de France, Château de Rentilly, as part of the group exhibition ""Le Cabaret du Néant"". Up-coming projects include "Life Stories", a group exhibition at Chatsworth House, UK, and a solo presentation at the Maison de l'Amérique Latine in Paris. Collaborative projects scheduled for 2021 include a show at the Beecroft Gallery in Southend-on-Sea, as part of Metal's Thames Estuary Festival, as well as at 20-21 Visual Arts Centre in North Lincolnshire, UK. Paz has had several solo exhibitions in the UK, France, Germany, Mexico, and Argentina, most recently at the Museo Leonora Carrington in San Luis Potosí, Mexico (2019), and also at Kunstmuseum Magdeburg, Germany (2016). The latter was accompanied by a 96-page bilingual monograph published by Verlag für Moderne Kunst, Vienna. As a multi-cultural artist, Paz's work was included in the group exhibit Tous, des sang-mêlés, held at MACVAL, Vitry-sur-Seine, France (2017). Earlier solo projects include an exhibit at Dukan Gallery in Leipzig (2014), Mexican Cultural Institute in Paris (2013), Pippy Houldsworth Gallery, London (2006) and Ruth Benzacar Gallery in Buenos Aires (2005). A semi-retrospective exhibit of her work was featured in L.A.C. Sigéan in collaboration with FRAC Occitanie (2010). Paz has also participated in various international painting survey exhibits such as Heute. Spektrum. Malerei. at Kunstmuseum Magdeburg (2012) as well as Slow Magic, Contemporary Approaches to Painting at the Bluecoat Gallery, Liverpool (2009). Between 1997 and 2002 Alicia Paz was represented by Espace d'Art Yvonamor Palix (Paris, Mexico City) along with artists Orlan, Sandy Skoglund, Aziz + Cucher, Studio Orta, and Duncan Wylie, among others. Paz's work is part of various international public and private collections and has been the subject of numerous catalogues and publications; her work has has been reviewed/featured widely (Art News, Art Press, Modern Painters, Art Forum, Turps Banana, The Guardian, Le Monde, Libération, Beaux-Arts Magazine, New York Times, Reforma, etc...). In August 2017 Paz unveiled a public sculpture commission at Kunstmuseum Magdeburg, titled Insel der Puppen (Island of Dolls), in steel and enamel. About the postcard artworks These are maquettes I developed in preparation for paintings, dating from 2000. For many years I have been interested representations of the ""artist figure"", allegories of painting, and gender relations between subject and author.
Lot 465
Larissa Lockshin Landscape Sketch, 2021 Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) "Larissa Lockshin is a Canadian-born artist based in Queens, New York. Seeking to challenge the existing associations, categorizations, definitions, and language surrounding art, Larissa Lockshin emphasizes objecthood over image content. Employing printer ink, acrylic, oil sticks, enamel, and chalk, Lockshin creates objects that reach out to the viewer and exist in the liminal space between painting and sculpture. A frustration with the emphasis on performance and conceptual art in her formal education first drove Lockshin to abstraction, and her subsequent work challenges the image's drained value in an oversaturated, digital world. The question of how art can maintain its value as a physical object when most artworks are viewed online impelled Lockshin to create artworks that defy the confines of digital reproduction, countering notions of what painting is through loosely impressionistic, largely unrecognizable forms. Exhibitions Her recent solo and two-person exhibitions include: "Iced Rowanberries", The Newsstand Project, Los Angeles, CA (2020), "Cadmio Limon", curated by Cristina Anglada, Galeria Pelaires, Majorca, Spain (2020), NADA "This is Fair", Melanie Flood Projects (2020), ARCO Lisboa, Galeria Pelaires (2020), ""Mal"" curated by Underground Flower & The Sunroom, Richmond, VA (2020). ""Elephant Heart"" (Solo), Y2K Group, Tribeca, NYC (2019), ""Fashion Club"" (Solo), Thumbelina's, NYC (2019), ""Scarecrow Show"", curated by Abby Lloyd, Dennis Witkin & Hadley Vogel, Watermill, NY (2019), ""Metal Meadow"", Camp Eternal Hell Chamber, NY (2019), Odette, Melanie Flood Projects, Portland, OR (2019), Bad Dream House, American Institute of Thoughts and Feelings, Tucson, AZ (2018); Far Side of the Valley, Albert Baronian, Brussels (2015); Bone Dry, 3434, New York (2016); Close But Not Cigar, Johannes Vogt Gallery, New York (2015). Recent group exhibitions include: Scarecrow Show, The Green Thumb, Watermill, NY (2019); Metal Meadow, Camp Eternal Hell Chamber, Cobleskill, NY (2019); Exit Soul, Liberal Arts Roxbury, Roxbury, NY (2018); Moondog, East Hampton Shed, New York. Gallery Representation She is represented by Galerie Baronian/Xippas in Brussels."
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