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Lot 349
PAIR OF CARVED IVORY SALT AND PEPPERof baluster form on carved screw attached stands, 9cm high (maximum), with a similar gourd shaped container on stand, with detachable finial, 7.5cm high; and a carved ivory sphere depicting traditional dancers, a cockerel and motif decoration, on a hardwood circular stand, 6.8cm high (4)
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 5
A late Victorian silver plated floral shaped biscuit barrel on stand, ivory pagoda finial with engraved decoration to body on four ball and claw feet together (plate worn) with a Sheffield Plate rectangular two handled drinks tray with gallery rail and a Waltham pocket watch with silver plate case (watch - AF, missing hands,cover, dents to body)
Lot 1101
The Mitchell Collection of Moorcroft Pottery: A pair of Walter Moorcroft salt glaze 'Orchid' pattern 98 shape candlesticks on ivory ground. Height approx 8cm. Painted W.M. initials plus impressed Moorcroft, Made in England marks to the bases.Condition: No obvious signs of damage or restoration.
Lot 590
A signed Kashan rug, with central medallion within an ivory field, the signature believed to translate as 'Amal bandeh Magshood Kashani 926' 192 x 122cmCondition report: excellent condition with no obvious damage or severe wear other than slightly ragged selvage pile is generally good and even with just a few 'low' points would benefit from a clean
Lot 118
Jacques-Joseph-Génie Vidal (French, 1795–1850), Portrait miniature of a lady in a black dress, signed centre right 'Vidal 1829', watercolour on ivory, 6.5 x 5cm; together with English School, 19th century, Portrait of a gentleman, inscribed to reverse 'John, b. 1798 / m. 1825 Charlotte daughter of John / d. 1864', watercolour on ivory, 7.5 x 5.7cm (2)
Lot 616
AN ANTIQUE CARVED IVORY AND EBONISED OVAL CONTAINER WITH LID, the separate lid with carved ivory finial, the container with four carved ivory panels, the two larger panels carved with a stag and an antelope, the two smaller panels carved with Art Deco figurative studies, the remaining panels with scrolling foliate carved detail, raised on four oval carved ivory feet, H 21.5 cm, W 24.5 cm S/DCondition Report:The lid has a loss to one edge, small cracks to beading
Lot 121
Late Victorian ivory handled Masonic sword with acid etched blade in partially gilded and enamelled bronze scabbard. The scabbard bears the previous owner's name "J.H Quinn" and is decorated with the crown and cross the symbol of the Yorkshire sect of freemasonry. Cross decoration to cross guard and handle with knights helmet pommel.
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239691 item(s)/page