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Lot 270
A ROMAN GNOSTIC RED JASPER INTAGLIO. SEATED HARPOCRATES ON A LOTUS WITH INSCRIPTIONS. 2nd-3rd century A.D.12x16x2 mmSeated right on a lotus with 2 buds on a groundline. The head surmounted by the solar disc, hand raised to the mouth and flagellum. Around " Χω/ΒωΧ ". Around, inscription "ΧΑΒΡΑΧ/ΦΝΕCΧΗΡ/ΦΙΧΡΟΦΝΥ/ΡωΦω". The inscription is a variation of the χαβραχ-logos. A praxis known from a papyrus (PGM LXI 1-38) specifies that love charms had to be incised with the image of Horus on a lotus flower and the magical name Abraxas. Pieces with the Horus-scheme used as love charms. On the backside, inscription " ΙΑΗΙΕΗ/ΙΟΥωΗΙΗ". This a plinths of vowels which were to multiply the strength of the magic words.See: A.Mastrocinque, Les intailles magiques du Departe;emt des Monnaies Medailles et Antiques, Paris, n11 and 30.Provenance: Giorgio Sangiorgi (1886-1965), Rome, acquired and brought to Switzerland, late 1930s; thence by continuous descent to the current owner. This lot is sold under temporary import status.
Lot 136
A Sèvres biscuit group of 'La Lanterne magique', circa 1766-73Modelled by Étienne-Maurice Falconet, a boy operating a magic lantern whilst a curious young girl peers into the viewing hole, holding a basket in her left hand, a boy grasping her shoulder, upon a rockwork base, 15.6cm high, incised B for Bachelier (small chips)Footnotes:The group was first modelled by Falconet in 1757, along with a companion piece entitled 'Le Tourniquet' or 'Le Marchand de Plaisirs'. The subject is taken loosely from the engraving 'Foire De Campagne', circa 1750, by Charles-Nicolas Cochin (1715-1790) after a now lost painting by François Boucher, 'La Foire de Village', circa 1737. An example of this engraving is illustrated in 'Falconet à Sèvres ou l'art de plaire', exhibition catalogue (2002) p.57, fig. 11.For further information on this lot please visit Bonhams.com
Lot 95
Joanna Whittle Don't think I'm here, 2023 Ink and manganese dioxide on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Joanna Whittle is a member of the Contemporary British Painting Society, winning the prize in 2019 and selecting for it in 2021. She has undertaken numerous solo projects and has shown extensively in group exhibitions. In 2020 she was awarded Arts Council funding for her project Between Islands at the Portland Collection on the Welbeck Estate, Nottinghamshire, exploring the construction of narratives through artefact creation and display and has been awarded an Arts Council England Project Grant for her current research project with the National Fairground and Circus Archive at Sheffield University which will culminate in a solo exhibition in 2023. In 2022 she exhibited a new collection of work at Millennium Gallery, Sheffield as part of Festival of the Mind, through collaboration with archaeologist Dr Elizabeth Craig-Atkins, exploring themes of mourning in the landscape and material culture. She has worked on numerous solo projects, showing most recently at the Whitaker Museum in 2022. She is a founding member of the Heavy Water Collective who engage with archives and collections in the production of new archival material, most recently working with Cardiff University Special Collections, Sheffield General Cemetery and the Special Collections at Leeds University. The collective is currently showing work in PostNatures at Graves Gallery, Sheffield. Recent group exhibitions include Entwined, Huddersfield Art Gallery & 20-21 Artspace, 2022/23; Heavy Water, Site Gallery, 2021, Arcadia For All? Stanley & Audrey Burton Gallery, Leeds University (currently) and will be showing in X, Contemporary British Painting at Newcastle Contemporary Art in 2023. Education BA (hons) Fine Art (Painting) at Central St Martins & MA Fine Art (Painting) at Royal College of Art Select Exhibitions/Awards AWARDS Winner of Contemporary British Painting Prize in 2019, Winner of New Light Valeria Sykes Award in 2021 RECENT SOLO EXHIBITIONS On Shifting Ground, solo exhibition at the Whitaker Museum, Lancashire, 2022 Material Mourning, Millennium Gallery, Sheffield part of Festival of the mind, Sheffield. A body of work produced following a period of research with archaeologist Lizzy Craig-Atkins (University of Sheffield) and Dr Jane Wildgoose (founder of the Jane Wildgoose Memorial Museum) SELECTED GROUP SHOWS (current and recent only) 2023 CURRENT Arcadia for All? Rethinking Landscape Painting Now, Stanley and Audrey Burton Gallery, University of Leeds Charlie Smith London at Gramercy Park studios PostNatures, Heavy water Collective, Graves Art Gallery, Sheffield Entwined, Plants in Contemporary Painting, 2021 Visual Arts Centre, Scunthorpe 2022 The Tyranny of Ambition , Highlanes Public Gallery, Drogheda, Ireland Entwined, Plants in Painting, Huddersfield Art Gallery Paint Edgy, Contemporary British Painting, Barton upon Humber The Fool, Air Space Gallery, Stoke-on-Trent Volta Basel, Charlie Smith Gallery, Basel New Light Retrospective, Saul Hay Gallery, Manchester Paradoxes Contemporary British Painting Society, Quay Arts, Newport, Isle of Wight Aggregate, Freelands Foundation, London 2021 New Light Prize Exhibition, Tullie House Museum, Carlisle Silent Disco, Curated by Graham Crowley, Greystone Industries, Suffolk Heavy Water, Site Gallery (Freelands Artist Programme Residency), Sheffield New Light Prize Exhibition, The Biscuit Factory Gallery, Newcastle The Lockdown Interviews Exhibition, ArtTopTen, Cello Factory, London Statement about AOAP Submitted Artwork The two drawings are part of an ongoing series of drawings started in 2020 when working on a project on the Welbeck estate in Nottinghamshire. They are made with Indian ink and Manganese oxide. They speak of mythologies and magic hidden in the landscape and the structures we build in it. 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.
Lot 51
Jeannie Rhyu Butterfly Kisses, 2023 Oil on oil paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jeannie Rhyu is a Korean Canadian artist living and working in Queens, New York. She graduated from Columbia University in the City of New York. Her work has been exhibited internationally in shows in New York, Vancouver, Hong Kong, Seoul, Beijing, and London. Selected exhibitions include shows at The Border Gallery (New York), Seefood Room (Hong Kong), Spring/Break Art Show (New York), Shin Gallery (New York), Field Projects and Tutu Gallery (New York), and Leroy Neiman Gallery (New York). She has given artist talks at Columbia University and for community-based organizations. Currently, Rhyu is working on a series of oil paintings exploring folklore, rituals, emotions, and ancestral memories. Education Columbia University in the City of New York Select Exhibitions/Awards 2023 "Surreal Dreamscape," The Border Gallery, Brooklyn, New York 2022 "Serendipitous Splendour," Seefood Room, Hong Kong 2022 "Mystic Picnic," Spring/Break Art Show, New York, New York 2022 "Scenographies of the Mind," Shin Gallery, New York, New York 2021 "Tutu Gallery - part of Dog Park by Field Projects," Petty Cash Gallery, Brooklyn, New York 2021 "Every Woman Biennial London 2021," The Copeland Gallery, London, United Kingdom Statement about AOAP Submitted Artwork Jeannie Rhyu explores her emotional impressions of reality as she traces ancestral memories. She paints inspired by nature, fairy tales, rituals, folklore, and transcultural femininity, as well as the magic of memories. Rhyu also studies native plants, emblematic animals, and mythical creatures, and paints them into her visions, exploring the past while renewing a connection between humans, nature, and spirits. 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.
Lot 50
Jeannie Rhyu Starlit Wings, 2023 Oil on oil paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jeannie Rhyu is a Korean Canadian artist living and working in Queens, New York. She graduated from Columbia University in the City of New York. Her work has been exhibited internationally in shows in New York, Vancouver, Hong Kong, Seoul, Beijing, and London. Selected exhibitions include shows at The Border Gallery (New York), Seefood Room (Hong Kong), Spring/Break Art Show (New York), Shin Gallery (New York), Field Projects and Tutu Gallery (New York), and Leroy Neiman Gallery (New York). She has given artist talks at Columbia University and for community-based organizations. Currently, Rhyu is working on a series of oil paintings exploring folklore, rituals, emotions, and ancestral memories. Education Columbia University in the City of New York Select Exhibitions/Awards 2023 "Surreal Dreamscape," The Border Gallery, Brooklyn, New York 2022 "Serendipitous Splendour," Seefood Room, Hong Kong 2022 "Mystic Picnic," Spring/Break Art Show, New York, New York 2022 "Scenographies of the Mind," Shin Gallery, New York, New York 2021 "Tutu Gallery - part of Dog Park by Field Projects," Petty Cash Gallery, Brooklyn, New York 2021 "Every Woman Biennial London 2021," The Copeland Gallery, London, United Kingdom Statement about AOAP Submitted Artwork Jeannie Rhyu explores her emotional impressions of reality as she traces ancestral memories. She paints inspired by nature, fairy tales, rituals, folklore, and transcultural femininity, as well as the magic of memories. Rhyu also studies native plants, emblematic animals, and mythical creatures, and paints them into her visions, exploring the past while renewing a connection between humans, nature, and spirits. 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.
Lot 339
Anousha Payne A Lucid State (brain squeeze) Study - right, 2023 Watercolour on Arches paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Anousha is interested in this combination of moral dilemmas and magic; spirituality and animism alongside characters with transformative qualities. A lot of these stories carry so much history with them; they've been passed down from generation to generation, through word of mouth and personal adaptations and flourishes that change the stories over time. Another element to her work is storytelling through simple gestures and expressions, reflecting on human interaction and communication. The deployment of bharathantyam hand gestures is used of a way of connecting with her cultural heritage, as well as being used for their known symbolic meaning. Alongside this, Anousha is interested in the human pursuit of spirituality in object form, as a form of cultural expression that is distinct from religious symbolism. Through the process of psychic automatism and free-association, she delves into whether it is possible to imbue spirituality into an object, and in the material qualities of religious or spiritual objects; how the material qualities of a work impact our experience of them, and the processes by which they are made inform them. Often deploying a reptile skin, her ceramics are intended as hybrid objects, a reminder of the fluidity and shared qualities between humans, animals, the natural world and inanimate objects, questioning material hierarchies and values. This process seeks to build an aesthetic dialogue and personal visual language as a meditative interaction. Education Camberwell School of Art, BA Sculpture, 2011-14 Select Exhibitions/Awards SOLOS Stellarhighway, New York, 18th September 2022 Indigo Plus Madder, London, June 2020 SELECTED GROUP SHOWS Romero Paprock, Paris December 2022 Arusha Gallery | High Line Nine, New York, 1st September 2022 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.
Lot 337
Anousha Payne A Temporary Shift (Self Portrait as a horse) Study 7, 2023 Watercolour on Arches paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Anousha is interested in this combination of moral dilemmas and magic; spirituality and animism alongside characters with transformative qualities. A lot of these stories carry so much history with them; they've been passed down from generation to generation, through word of mouth and personal adaptations and flourishes that change the stories over time. Another element to her work is storytelling through simple gestures and expressions, reflecting on human interaction and communication. The deployment of bharathantyam hand gestures is used of a way of connecting with her cultural heritage, as well as being used for their known symbolic meaning. Alongside this, Anousha is interested in the human pursuit of spirituality in object form, as a form of cultural expression that is distinct from religious symbolism. Through the process of psychic automatism and free-association, she delves into whether it is possible to imbue spirituality into an object, and in the material qualities of religious or spiritual objects; how the material qualities of a work impact our experience of them, and the processes by which they are made inform them. Often deploying a reptile skin, her ceramics are intended as hybrid objects, a reminder of the fluidity and shared qualities between humans, animals, the natural world and inanimate objects, questioning material hierarchies and values. This process seeks to build an aesthetic dialogue and personal visual language as a meditative interaction. Education Camberwell School of Art, BA Sculpture, 2011-14 Select Exhibitions/Awards SOLOS Stellarhighway, New York, 18th September 2022 Indigo Plus Madder, London, June 2020 SELECTED GROUP SHOWS Romero Paprock, Paris December 2022 Arusha Gallery | High Line Nine, New York, 1st September 2022 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.
Lot 94
Joanna Whittle Barbican St Laurence Drogheda, 2023 Ink and manganese dioxide on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Joanna Whittle is a member of the Contemporary British Painting Society, winning the prize in 2019 and selecting for it in 2021. She has undertaken numerous solo projects and has shown extensively in group exhibitions. In 2020 she was awarded Arts Council funding for her project Between Islands at the Portland Collection on the Welbeck Estate, Nottinghamshire, exploring the construction of narratives through artefact creation and display and has been awarded an Arts Council England Project Grant for her current research project with the National Fairground and Circus Archive at Sheffield University which will culminate in a solo exhibition in 2023. In 2022 she exhibited a new collection of work at Millennium Gallery, Sheffield as part of Festival of the Mind, through collaboration with archaeologist Dr Elizabeth Craig-Atkins, exploring themes of mourning in the landscape and material culture. She has worked on numerous solo projects, showing most recently at the Whitaker Museum in 2022. She is a founding member of the Heavy Water Collective who engage with archives and collections in the production of new archival material, most recently working with Cardiff University Special Collections, Sheffield General Cemetery and the Special Collections at Leeds University. The collective is currently showing work in PostNatures at Graves Gallery, Sheffield. Recent group exhibitions include Entwined, Huddersfield Art Gallery & 20-21 Artspace, 2022/23; Heavy Water, Site Gallery, 2021, Arcadia For All? Stanley & Audrey Burton Gallery, Leeds University (currently) and will be showing in X, Contemporary British Painting at Newcastle Contemporary Art in 2023. Education BA (hons) Fine Art (Painting) at Central St Martins & MA Fine Art (Painting) at Royal College of Art Select Exhibitions/Awards AWARDS Winner of Contemporary British Painting Prize in 2019, Winner of New Light Valeria Sykes Award in 2021 RECENT SOLO EXHIBITIONS On Shifting Ground, solo exhibition at the Whitaker Museum, Lancashire, 2022 Material Mourning, Millennium Gallery, Sheffield part of Festival of the mind, Sheffield. A body of work produced following a period of research with archaeologist Lizzy Craig-Atkins (University of Sheffield) and Dr Jane Wildgoose (founder of the Jane Wildgoose Memorial Museum) SELECTED GROUP SHOWS (current and recent only) 2023 CURRENT Arcadia for All? Rethinking Landscape Painting Now, Stanley and Audrey Burton Gallery, University of Leeds Charlie Smith London at Gramercy Park studios PostNatures, Heavy water Collective, Graves Art Gallery, Sheffield Entwined, Plants in Contemporary Painting, 2021 Visual Arts Centre, Scunthorpe 2022 The Tyranny of Ambition , Highlanes Public Gallery, Drogheda, Ireland Entwined, Plants in Painting, Huddersfield Art Gallery Paint Edgy, Contemporary British Painting, Barton upon Humber The Fool, Air Space Gallery, Stoke-on-Trent Volta Basel, Charlie Smith Gallery, Basel New Light Retrospective, Saul Hay Gallery, Manchester Paradoxes Contemporary British Painting Society, Quay Arts, Newport, Isle of Wight Aggregate, Freelands Foundation, London 2021 New Light Prize Exhibition, Tullie House Museum, Carlisle Silent Disco, Curated by Graham Crowley, Greystone Industries, Suffolk Heavy Water, Site Gallery (Freelands Artist Programme Residency), Sheffield New Light Prize Exhibition, The Biscuit Factory Gallery, Newcastle The Lockdown Interviews Exhibition, ArtTopTen, Cello Factory, London Statement about AOAP Submitted Artwork The two drawings are part of an ongoing series of drawings started in 2020 when working on a project on the Welbeck estate in Nottinghamshire. They are made with Indian ink and Manganese oxide. They speak of mythologies and magic hidden in the landscape and the structures we build in it. 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.
Lot 338
Anousha Payne A Lucid State (brain squeeze) Study - left, 2023 Watercolour on Arches paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Anousha is interested in this combination of moral dilemmas and magic; spirituality and animism alongside characters with transformative qualities. A lot of these stories carry so much history with them; they've been passed down from generation to generation, through word of mouth and personal adaptations and flourishes that change the stories over time. Another element to her work is storytelling through simple gestures and expressions, reflecting on human interaction and communication. The deployment of bharathantyam hand gestures is used of a way of connecting with her cultural heritage, as well as being used for their known symbolic meaning. Alongside this, Anousha is interested in the human pursuit of spirituality in object form, as a form of cultural expression that is distinct from religious symbolism. Through the process of psychic automatism and free-association, she delves into whether it is possible to imbue spirituality into an object, and in the material qualities of religious or spiritual objects; how the material qualities of a work impact our experience of them, and the processes by which they are made inform them. Often deploying a reptile skin, her ceramics are intended as hybrid objects, a reminder of the fluidity and shared qualities between humans, animals, the natural world and inanimate objects, questioning material hierarchies and values. This process seeks to build an aesthetic dialogue and personal visual language as a meditative interaction. Education Camberwell School of Art, BA Sculpture, 2011-14 Select Exhibitions/Awards SOLOS Stellarhighway, New York, 18th September 2022 Indigo Plus Madder, London, June 2020 SELECTED GROUP SHOWS Romero Paprock, Paris December 2022 Arusha Gallery | High Line Nine, New York, 1st September 2022 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.
Lot 308
An Egyptian gesso painted wood shabti box Third Intermediate Period, circa 1069-735 B.C.27.7cm x 12cm x 12cmFootnotes:Provenance:Bodo Bleß (1940-2022) collection, Berlin, formed from ca. 1960 onwards.The text around the sides reading: 'A boon which the king gives to Osiris, Foremost of the West, great god lord of Abydos, that he give all offerings, all sustenance and wine to the deceased', whose name is illegible. For a shabti box with similar text see Mummies and Magic, Museum of Fine Arts Boston, 1988, p.175, no.125e.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
Lot 1295
Corgi, Dinky & Matchbox Group Of Unboxed Mini Cars. To Include Austin Mini Countryman - Surfing, Dinky Mini Minor - Red / Black, Dinky Mini Clubman - Metallic Green, Dinky Mini Minor - Stripey's Magic Mini, Matchbox Superfast 29 Racing Mini - Orange - 29 Plus Others. Conditions: Fair To Excellent (23)
Lot 503
WW2. JCE Blamey DSC DSM Signed Commemorating the Porpoise Carrier Service To Malta Under Magic Carpet Operations FDC. British Stamp with 15 Apr 92 PostmarkAll autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 314
SWAROVSKI; nine Annual Editions in three series, comprising 'Masquerade'; '1996 Unicorn', '1997 Dragon' and '1998 Pegasus', Fabulous Creations'; '1999 Pierrot', '2000 Columbine' and '2001 Harlequin', 'Magic of Dance'; '2002 Isadora', '2003 Antonio' and '2004 Anna', with nine etched title plaques, three various 1996, one 2000, two various 2001, one 2002, one 2003 and one 2004, all boxed, with relevant certificate, various signed.
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