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Lot 1049
Various LED solar fence lights, spiral LED candle lanterns, five light source high power head lights, solar powered LED wall light, a Globrite moon lamp, a heavy duty adjustable pull up bar, various stringe lights, etc. (2 shelves) Note: VAT is payable on the hammer price of this lot at 20%
![Arthur CollinsTHE PEERAGE OF ENGLAND, 6 VOLSLondon: W Innes etc, MDCCLVI [1756]THIRD EDITION, 8vo, full polished calf, pencil](https://cdn.globalauctionplatform.com/eb6e9d57-bfe2-4122-9544-aeab00dd00fd/6c2548b2-7e8c-4a01-8225-aeac00bdfda2/468x382.jpg)
Lot 268
Arthur CollinsTHE PEERAGE OF ENGLAND, 6 VOLSLondon: W Innes etc, MDCCLVI [1756]THIRD EDITION, 8vo, full polished calf, pencil notes in indices, light toning to some pages; Vol I, part 1: [vi] + 449pp; Vol I, part 2: 449 - 822 + [ii] index; Vol II: iv + 525 + [i] index pp; Vol III: [ii] + 768 + [ii] pp; Vol IV: [ii] + 514 + [ii] index pp; Vol V: vii + 524 + [ii] index + [xxii] addenda; wear to boards, hinges and spine as well as head- and footcaps, bookplate, Vol I, part 2: ffep loose; Vol III: loss to spine(6)
![Sir Walter ScottWAVERLEY NOVELS, 47 VOLSEdinburgh: Adam and Charles Black, MDCCCLX [1860]Small 8vo, half bound in green moroc](https://cdn.globalauctionplatform.com/eb6e9d57-bfe2-4122-9544-aeab00dd00fd/ada42ecf-96c1-41fc-86a3-aeac00be0182/468x382.jpg)
Lot 269
Sir Walter ScottWAVERLEY NOVELS, 47 VOLSEdinburgh: Adam and Charles Black, MDCCCLX [1860]Small 8vo, half bound in green morocco, frontis in all books, volume 30 absent, boards and text block edge marbled, text block edge waxed, wear to edges and corners of boards, light foxing, including amongst others Ivanhoe & Rob Roy(47)
![John OgilbyCABO DE BONE ESPERANSELondon: Ogilby, (1670)[1670]Copperplate engraving, centerfold, age toned, light foxing; fram](https://cdn.globalauctionplatform.com/eb6e9d57-bfe2-4122-9544-aeab00dd00fd/ee31e70d-bc0f-4018-b737-aeac00be0bd6/468x382.jpg)
![Brian KensleySEA-SHELLS OF SOUTHERN AFRICACape Town: Maskew Miller, 1973DE LUXE EDITION, SIGNED, LIMITED 81 of 100, 8vo, [ii]](https://cdn.globalauctionplatform.com/eb6e9d57-bfe2-4122-9544-aeab00dd00fd/3edba9d2-68a0-4dba-a297-aeac00be8a50/468x382.jpg)
Lot 294
Margaret M Smith & Phillip C Heemstra (eds)SMITHS' SEA FISHESJohannesburg: Macmillan, 1986FIRST EDITION, SIGNED BY MARGARET SMITH, 4to, xx + 1047pp, 144 plates, blue boards with dust jacket, light toning to top of text block, light wear to dust jacketAccompanied by ICHTHOS December 1987 Newsletter with tribute to Margaret Smith
![Matthaus MerianNOVA TOTIUS TERRRUM ORBIS GEOGRAPHICA ACHYDROGRAPHICA TABULAFrankfurt: Matthaus Merian, (1638)[1638]Copperplat](https://cdn.globalauctionplatform.com/eb6e9d57-bfe2-4122-9544-aeab00dd00fd/bbde71ea-fe88-4bc6-9a6c-aeac00bece8d/468x382.jpg)
Lot 300
Matthaus MerianNOVA TOTIUS TERRRUM ORBIS GEOGRAPHICA ACHYDROGRAPHICA TABULAFrankfurt: Matthaus Merian, (1638)[1638]Copperplate engraving, full colour, centrefold, toning behind windowmount, light foxing; verso: blank, paint show through, notes in pencil, top and upper corners attached to windowmount, three short tears within border repaired; framedFrom Pierre d'Avity's Archontologia Cosmica25 by 35,5cm (neatline)
Lot 307
Jan JanssonTABULA ANEMOGRAPHICA SEU PYXIS NAUTICA VENTORUM NOMINA SEX LINGUIS REPRAESENTANS[Wind Rose, Anemographic, or Map of the Winds]Amsterdam: Jan Jansson, (1650)[c1650]Copperplate engraving, full colour, centrefold, age toned with light strip along centrefold, pencil note in margin, damp mark in bottom right corner within border, light foxing; verso: Dutch text, 5cm closed tear 3cm within neatline; framedFrom Jansson's Atlas Maritimus or Atlantis Majoris43,5 by 54,5cm
Lot 355
signed, dated 2017, titled and numbered 7/10 in pencil in the marginetchingsheet size: 48 by 47,5cm, unframed Within this artwork Blom explores the seminal forces which shaped him as an artist, primarily focusing on his acute dyslexia. The written language was something Blom considered to be out of his reach (because of his dyslexia) and he was extremely self-conscious of his inability to write (Stefan Blom, 2022). It was quite painful for me. There was absolutely nothing I could do about it. Despite the fact that I was trying to learn more, it just wouldn't get better. So, for every single event, whether good or bad, I started making little symbols (Stefan Blom, 2022). Thus, from his frustration, Blom created his own pictographic alphabet. Blom used this new language, which only he could understand, to "express himself and recorded significant life events" (Stefan Blom, 2022). Blom's alphabet allowed him to put to rest the traumas that haunted him throughout his childhood and it is encapsulated in this artwork. Blom's work has been displayed both nationally and internationally. In 2017, Blom won the Tollman Bouchard Finlayson Art Award for into the light fantastic, which forms part of a bigger body of work, A life Story. One of the etched plates from A life Story is owned by the Zeits MOCCA.Artsy.net. 2022. Stefan Blom | A Life Story (2019) | Available for Sale | Artsy. [online] Available at://www.artsy.net/artwork/stefan-blom-a-life-story-3?msclkid=3b13af42d12e11ec89b31cd51b7cbe5d> [Accessed 11 May 2022].Berman Contemporary. 2022. Stefan Blom | Series | A Life Story | Berman Contemporary. [online] Available at://bermancontemporary.com/series-stefan-blom-secret-language/?msclkid=37901e7ed13311ec9667ee1ccaf2b5ee> [Accessed 7 May 2022].Stefanblom.co.za. 2022. Biography Stefan Blom. [online] Available at://stefanblom.co.za/biography/msclkid=378e9dbad13311ec9fde75e03e419b18> [Accessed 11 May 2022].
Lot 526
six-colour gravure print68,5 by 68,5cm; 78,5 by 78,5 by 4,5cm including framing The butterfly in the art of Damien Hirst I always say my work is about life, but I don’t know, I suppose it does dwell on the dark side – Damien Hirst Hirst’s use of the butterfly in his artworks draws and expands upon the shared cultural meaning that these creatures symbolise in the human psyche. Light, beautiful, ephemeral, butterflies have caught the imagination of human beings throughout time. Representative of the human soul for the ancient Greeks and Chinese Daoists, the butterfly later became a symbol of the resurrection of Christ and an icon for the possibility of regeneration and renewal. By the 17th century, the changes brought about by early capitalism and the dawning industrial revolution saw artworks such as Vanitas Still Life, by Dutch artist Maria van Oosterwijck, and Gainsborough’s The Painter’s daughters Chasing a Butterfly, introduce the butterfly as a cautionary symbol. The 20th century saw the butterfly take on yet another layer of symbolic meaning. Amid the harsh realities of a post-World War II world, a brutal take on the seemingly innocent Victorian-era hobby of butterfly collecting saw controversial French artist Jean Dubuffet using the ripped-off wings of butterflies in his artworks. Critics were scathing, but the notion of the butterfly as symbolic ‘harbingers of disaster’ appeared to take root. The work of Damien Hirst incorporates and expands on all these themes, bringing them very much into the 21st century. Hirst uses butterflies to explore the borderlands between life and death, religion and science, beauty and horror. His first controversial solo exhibition, In and Out of Love, was followed in 2006 by I am Become Death, Shatterer of Worlds, an epic work of two thousand seven hundred pairs of real butterfly wings arranged in an explosion of colour reminiscent both of cathedral stain-glass windows and the awe-full beauty of an atomic detonation. The work on offer here, lot 526 is a section of Hirst’s kaleidoscopic black butterfly-patterned wallpaper created from his painting Valley of Death, executed in 2010. Hirst’s 2021 Relics and Fly Painting exhibition at Gagosian’s Britannia Gallery saw the interior walls of the exhibition space clad floor to ceiling with this wallpaper. In its complexity of overlapping black butterfly wings with highlights of iridescent blue, it is at once dark and transcendent – a masterful balance of Hirst’s major themes. “Damien Hirst is an artist whose incredible gift has been to find deep poetry and philosophy for the way we live our lives in the most direct re-workings of pre-existing objects and media. As he himself has declared, ‘I think I’ve got an obsession with death, but I think it’s like a celebration of life rather than something morbid. You can’t have one without the other.’” (Hirst & Burn, pg 21) J.J. White, Katie, A Brief, Fluttering History of Butterflies in Art, From Symbols of Regeneration to Reminders of the Fleetingness of Life, March 18, 2022news.artnet.com/art-world/a-history-of-butterflies-in-art-2085638 accessed 30 May 2022Matthew Wilson, Butterflies: The Ultimate Icon of our Fragility, September 2021bbc.com/culture/article/20210915-butterflies-the-ultimate-icon-of-our-fragility accessed 30 May 2022Christies, lot essay, October 2010christies.com/en/lot/lot-5363059Patrick Barkham, Damien Hirst’s Butterflies: Distressing but Weirdly Uplifting theguardian.com/environment/2012/apr/18/damien-hirst-butterflies-weirdly-uplifting accessed 20 May 2022Hirst D, and Burn G , On the Way to Work, London: Faber and Faber, 2001
Lot 22
A small bisque head child doll by Schoenau & Hoffmeister circa 1920, with 5 piece bent limb composition body, brown closing eyes, open mouth with teeth, real and painted lashes, wearing a period silk dress and cape plus underskirt, knitted pants and socks. Impressed marks 'SPBH' (with star) '2/o'. Height 32cm. No obvious chips or cracks to bisque head. Not viewed under UV light.
Lot 23
Small bisque head character doll 'Hanna' circa 1920 by Schoenau & Hoffmeister, with 5 piece bent limb composition body, closing brown eyes, real and painted lashes, open mouth with teeth, wearing a period cotton dress overlaid with lace, with matching bonnet, 3 lace trimmed underskirts and pants, Height 28cm. Impressed marks SPBH (with star) 'Hanna-3/o'. No obvious chips or cracks to bisque head. Not viewed under UV light
Lot 2696
A substantial Art Nouveau oak sectional corner suite of multi purpose including a box settle with rising lid, adjacent cupboard set beneath four divisional corner bookcase with adjustable shelves incorporating dial clock and small cupboard with leaded light door, all within an oak framework and with applied and stylish Art Nouveau hinge work (divides into numerous sections for ease of removal and installation), 210 cm wide x 90 cm depth x 285 cm high approx, further associated oak box with rising lid and carved front, additional bench (incomplete) 101cm wide x 41cm deep x 56cm high (2)
Lot 3
A Kestner bisque head character baby doll, with blue lashed sleeping eyes, bent-limbed composition body, wearing satin dress with blue jacket (worn as cape as cuffs too small), bonnet and bootees. Mould no 262, impressed mark 'K&Co 262/45'. Height 50cm. No obvious cracks or chips to bisque- not viewed under UV light
Lot 30
2 1920/30's bisque head baby dolls 'My Dream Baby' by Armand Marseille; one is mould 351 with closing blue eyes, cloth body, open mouth with teeth, wearing a long silk gown and matching bonnet, height 38cm; the other is an unusual 341 mould with open head, pate and wig, impressed mark 341/4 Ka, with blue closing eyes, closed mouth and composition body (straight toddler legs), wearing lace trimmed dress, 2 underskirts and knickerbockers, height 46cm. Lot includes a wicker dolls pram with wooden wheels. No obvious cracks or chips to bisque heads. Not viewed under UV light. Wigged doll needs head re-stringing (3)
Lot 1
Late 19th/ early 20th century bisque head child doll by Simon & Habig, mould 1039, with voice, walking action and kiss throwing action. Doll has blue eyes, pierced ears, open mouth with 4 teeth and jointed composition body, wearing period lace trimmed woollen dress over 2 petticoats and knickerbockers, with bonnet, socks and shoes. Height 56cm. No obvious cracks or chips to bisque. Not viewed under UV light
Lot 10
Small German bisque head doll by Simon & Halbig with pierced ears, brown closing eyes and open mouth with teeth, dressed as a fairy in a light brown organdie dress with underskirt, knickerbockers, floral headdress and wings. The doll carries a basket containing a miniature bisque baby doll and floral decorations. Stand (decorated with flowers) is included. Height 34cm. Impressed marks 'Halbig S&H 4'
Lot 11
Early 20th century German bisque head baby doll, head by Simon & Halbig for Kammer & Rheinhardt with 5 piece bent limb composition body, closing blue eyes, open mouth with teeth, smartly dressed in red woollen dress with matching hat, 2 petticoats and pants. Mould 136/36. Height 38cm. No obvious chips or cracks to bisque, not viewed under UV light.
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534297 item(s)/page