There are 297893 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA group of eight late 19th century pressed glass swan salts comprising four Burtles, Tate & Co and four others similar, lengths 8cm to 19cm.Condition - minor nibbles.The clear glass swan and the larger opalescent swan are both marked 'Rd No 20086' and the smaller opalescent swan is marked 'R 20086', the others are unmarked.
Seven Scalextric American racing cars, comprising C3517 Chevrolet Camaro GT-R, C3087 Dodge Viper, C3534 Chevrolet Camaro No. 5, C3630 Ford GT40 1966 Le Mans, C2891 Chevrolet Camaro No. 88, C3532 Chevrolet Camaro Z/28 and C3536 Mercury Cougar 1967 Trans-Am, all within plastic cases.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Three Hornby gauge OO West Country Class locomotives and tenders, comprising R.2282 'Weymouth', R.2316 '73 Squadron' and R.2926 'Blandford Forum', all boxed with tissue wrapping (boxes lightly creased and scuffed).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A collection of Hornby gauge OO coaches and goods rolling stock, including five Pullman coaches, six BR coaches, an R.6155 set of three BR mineral wagons, four Southern coaches, open wagons, a luggage van, a hopper wagon and a brake van, all boxed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A small collection of Hornby gauge OO railway items, comprising DCC Ready R.3700 Southern Railway 2-Bil, R.369A BR Class 110 3-Car Diesel Multiple Unit, R.3199 Special Edition locomotive 'Duke of Gloucester' and tender, R.2921 locomotive 'Thorpe Hall' and tender, R.2633 locomotive 'Planet' and tender, R.2924 Class M7 tank locomotive, R.3213 Hornby Collector Club tank locomotive and Hornby Railways R.313 locomotive 'Golden Eagle' and tender, all boxed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Four Hornby gauge OO locomotives and tenders, comprising R.2502 'Overton Grange', R.2583 30453 'King Arthur', R.2630 'The Rifle Brigade' and R.2318 5071 'Spitfire', all boxed with instructions and tissue wrapping.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Five Hornby gauge OO locomotives and tenders, comprising R.2170 Holland-Afrika Line, R.2344 Class Q1 33009 weathered, R.2581 Class N15 30764 'Sir Gawain' weathered, R.2181 Schools Class V 'Sevenoaks' and R.2258 Class 5MT 44781 (the actual cab number being 44721), all boxed, together with a Hornby Railways R.583 Industrial Freight set, boxed (boxes lightly creased and scuffed, Industrial Freight set incomplete box lid creased, torn and scuffed).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A collection of Tri-ang Hornby gauge OO railway items, including two R.152 diesel shunters, an R.2595 locomotive 'Britannia' and tender, an R.52S 3F tank locomotive, three GWR coaches, other coaches, goods rolling stock, an R.5083 terminus/through station and a turntable, mostly boxed (boxes creased, torn and scuffed), together with a Hornby Railways R.450 Fowler locomotive and an R.041 pannier tank locomotive GWR, boxed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Hornby Railways gauge OO R.258 locomotive 'Princess Elizabeth' and tender with smoke and exhaust steam sound, boxed, and an R.861 locomotive 'Evening Star' and tender, boxed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Five Scalextric rally and racing cars, comprising C3525 Volkswagen Polo R WRC, C3385 Mini Countryman WRC No. 12, C3308 Jaguar D-Type, C3781 Ford Sierra RS500 BTCC Brands Hatch 1990 and C3415 MGB No. 46 Sebring 1964, all within plastic cases.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Hornby gauge OO NRM R.2294 locomotive and tender 'Ellerman Lines', together with an R.2267 locomotive and tender 'Brocklebank Line', both boxed with instructions and tissue wrapping (boxes lightly creased).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Four Hornby gauge OO tank locomotives, comprising R.2505 Class M7 30031, R.2287 Fowler 4P weathered, R.2357 6167, R.2324 68450 weathered and R.2165A 32670, together with an R.2713 Class T9 locomotive 30310, an R.2355 locomotive 33037 and an R.2158 Class 52 locomotive 'Western Ranger', all boxed with instructions and tissue wrapping (some boxes, lightly creased), and a Hornby Railways R.052 Jinty locomotive, boxed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Two Hornby DCC Ready gauge OO locomotives and tenders, comprising R.2341 Class A3 'Windsor Lad' and R.2494 Class A4 'Guillemot', both boxed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Two Hornby gauge OO locomotives and tenders, comprising R.2312 'City of Chester' and R.2586 34053 'Sir Keith Park', both boxed with instructions and tissue wrapping.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Hornby Railways gauge OO R.545 Inter-City 125 set, boxed (some parts missing, box and lid damaged).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A small collection of Hornby Railways gauge OO items, comprising an R.374 locomotive 'Spitfire' and tender, five LMS coaches, three goods wagons, an R.519 engine shed, all boxed, and a breakdown crane truck (boxes lightly creased, torn and scuffed).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Hornby Railways gauge OO limited edition R.837 Silver Jubilee train set, with certificate, together with an R.1032 Mainline Steam train set and a Bachmann Branch-Line No. 31-004A Robinson Class 04 locomotive and tender, early emblem, all boxed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Fifteen Matchbox Dinky Collection vehicles, including a DY-13 1955 Bentley R Continental, a DY20 1965 Triumph TR4A and a DY5-B 1950 Ford V8 Pilot, all boxed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A collection of Tri-ang Railways gauge OO items, including an R.386 locomotive 'Princess Elizabeth' and tender, boxed, five other locomotives, Pullman coaches, other coaches and goods rolling stock.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
DAVID R. ANDERSON (1884-1973), "Brittany II", oil on board, unsigned, Goosemill Gallery, Menston, Ilkley label to reverse, 9 3/4" x 11 3/4", gilt frame, together with another "Haymaking", 10 1/2" x 13 1/2" (2) (subject to Artists Resale Right) (Est. plus 21% premium inc. VAT)Some crazing to Brittany both possibly in need of a clean
A REGENCY MAHOGANY LIBRARY TABLE, the moulded edged rounded oblong top inset with tooled green leather, three frieze drawers with brass drop handles and dummy drawers opposite, on reeded end supports with downswept legs and brass toes and castors, stamp for R. Taylor & Sons, Great Dover Street, Boro, 51" x 28 1/2" x 31" (Illustrated) (Est. plus 21% premium inc. VAT)Generally good condition, leather replaced and good, some veneer repairs to banding of top, replaced handles
An important tankard with cover from the collection of King Fernando II (1816-1885)Portuguese silver tankard with cover, 19th century Double body, the inner in plain gilt silver and the outer of profuse repoussé and chiselled decoration with classical female masks, floral and foliage motifs and fruits, interlaced with volutes Fruit basket lid pommel Acanthus leaf, foliage motifs and classical bearded mask decoration to handle and neo-medieval thumbpiece with female bust Marked with King Fernando's gothic F monogram under the Royal Crown and inventory number 36 Maker's mark CIMS for Cirilo José Maz da Silva (L-198.0), registered June, 9th 1826 and Lisbon city mark (L-42.0) for ca. 1822 to ca. 1860Literature: F. Moutinho de Almeida/Rita Carlos "Inventário de Marcas de Pratas Portuguesas e Brasileiras" séc. XV a 1887 pp. 141, 111Height: 16 cm845 g Catalogue EssayAn unquestionable defining figure within the Portuguese 19th century cultural panorama, King Fernando II (Ferdinand of Saxe-Coburg-Gotha-Koháry, (Vienna 1816 – Lisbon 1885) would reveal himself, soon after his arrival in Portugal following his marriage to Queen Maria II of Portugal (1819-1853), as a committed and knowledgeable art collector. Amongst the broad scope of his interests, gold smithery certainly occupied a most relevant position as can be assessed from the 1866 inventory of his estate. In this long manuscript list, compiled by the king himself, all the collected objects are described and classified, possible manufacture dates proposed, and technical and aesthetic analyses annotated. This inventory is also revealing in terms of provenances, both in terms of which objects were King Fernando’s own acquisitions and which were gifted to him. Additionally, to dissipate any possible doubts on their ownership, the king also noted at the end of each entry: “Propriedade Minha” (My Own Property). Bequeathed to the Pena National Palace, in whose archive it is now preserved, this important inventory has recently been studied and published on-line, allowing for a deeper knowledge of various objects that have, through time, been dispersed, and are now owned by various public and private collections, or whose location is unknown, as a consequence of the splitting of the inheritance upon the King’s death. The tankard now brought to sale at auction by Veritas is recorded in this inventory list under nr.119, book I, which lists “Objects in silver, gold, etc.”: N.º 119) Caneca de prata por dentro dourada em relevo e cinzelada. Feita no estilo da renaissance, na officina de R. Pinto. Foi-me dada pela rainha D. Maria II de saudosa memoria, é uma bonita peça e tem a particularidade de me ter servido desde os primeiros annos depois da minha chegada a este paiz até ao dia de hoje, para conter a agoa para lavar a bocca; e accompanhou-me em muitas viagens n’este paiz. – Tem tampa móvel. Propr. minha. (Nr. 199) Silver tankard gilded on the inside in reliefs and chiselled. Made in the Renaissance style at the workshop of R. Pinto. It was gifted to me by Queen Maria II of wistful memory, it is an elegant piece and it has the peculiarity of having served me from the early years of my arrival to this country up untiltoday, to hold water to wash my mouth; and it has accompanied me in many travels through this country. – It has a mobile cover. My Property.) It is thus confirmed that the tankard was made in the workshop of Raimundo José Pinto (1807-1859), the Royal Silversmith that was also, certainly not coincidentally, the main supplier of both antique and modern silver pieces to the King consort. A master goldsmith, Raimundo José Pinto established himself as a businessman and dealer, having owned a very active workshop where Cirilo José Maz da Silva worked and whose mark (registered 1826) has been identified in this the tankard. Raimundo was also the co-owner of the firm Pinto & Sousa, based at Rua da Prata, in Lisbon, which after his death, becomes the renowned jeweller Estevão de Sousa. The inventory also clarifies that the tankard was a gift from Queen Maria II, prematurely dead in 1853, as well as that it was used for the King’s oral hygiene, a fact that explains its plain gilt interior. The fact that it accompanied King Fernando in his travels, from his early days in Portugal, suggests that it was a cherished object, as it can be expected within the Romantic sentimental context of the time, and independently of the antiquity or artistic merit that in general defined his collecting criteria, so clearly assessed from the secular 16th century Portuguese silver collection, partly preserved at Ajuda National Palace. Aware of her husband’s collecting interests, D. Maria gifted him other gold and silver pieces that are also described in the inventory and whose present location remains mostly unknown. D. Fernando refers such gifts in the “memorial diary” written following the Queen’s death, a document also kept in the Portuguese National Archives, a section of which we transcribe herewith: “Maria era tão boa, que prazer ela tinha em adivinhar os meus gostos. Para me ser agradável, ela, que antes não tinha a menor ideia de tais coisas, aprendera a apreciar e a amar as obras de arte. Com que alegria ela me trazia uma gravura de um bom mestre, alguma linda água-forte antiga ou algum belo trabalho em prata ou em prata dourada! Tudo o que veio dela, tudo o que ela arranjou e instalou comigo será sempre querido e precioso!” (Maria was very kind and had genuine pleasure in guessing my tastes. To be agreeable to me, she, who before had no idea of such things, had learned to enjoy and to love works of art. She would joyfully bring me a print by a renowned master, a charming antique etching or some beautiful silver or gilt-silver object! Everything that came from her, everything that she found and fitted with me will always be cherished and precious!). The tankard herewith described was engraved on the base with the King’s ownership mark (gothic script F) and the number 36, corresponding, not to the inventory referred above, but to another list compiled by a secretary in 1858, which is equally preserved at the National Archives. It this inventory it is described as “trabalho moderno, imitando o antigo, com cinco mascarões, sendo um na aza” (modern work copying the antique, with five classical masks, one in the handle). Following King Fernando II’s death it was eventually inventoried in his Necessidades Palace apartments Toilette, under nr. 2283, a detail that suggests that it had maintained the use for which it was originally destined. Described as “replicating Renaissance work” it was valued, for inheritance purposes, at 36 thousand reals. According to this post mortem inventory, also preserved at the National Archives, it became part of the lot inherited by Prince Afonso, Duke of Porto (1865-1920), commonly known as “O Arreda” (The Move Away), for his early interest in automobiles and speed. It was probably disposed of during the prince’s life, as was the case with other objects inherited from his grandfather which were acquired by Counsellor João Arroyo (1861-1930) and subsequently auctioned in the latter 1905 estate sale.Hugo XavierLiterature: Hugo Xavier, “Propriedade Minha”: ourivesaria, marfins e esmaltes da coleção de D. Fernando II, Coleções Em Foco | Palácios Nacionais |Sintra Queluz Pena, n.º 4, PSML, 2022. Disponível online em www.parquesdesintra.pt
A coffee potPortuguese silverSpiralled decoration of fish scale like motifs alternating with beaded friezesDomed cover of identical decoration and bulb lid pommelCarved exotic wooden handleEagle hallmark 916/1000 (1938-1984) and same date maker's markSigned "Baptista" R. Passos Manuel 2" stamped "1º Título"Height: 24 cm807 g
Elizabeth Power Blue Still Life Acrylic Paint on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a colour palette rich in coral pinks, forest greens and cool blues. Drawing inspiration from Colourists such as Matisse, Hockney and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Heals, John Lewis, The London Design Festival, Itsu, Artsy, Delphian Gallery, Art For Charity Collective, Print Club London, The Auction Collective and The Old Bank Vault. Education Elizabeth Power graduated from the University of the Arts London in 2010 but has long since explored an expressive use of bold colour to capture the compelling beauty of her landscapes. Select Exhibitions/Awards 2021 Delphian Gallery- Duo exhibition with Cathy Tabbakh 'Fatal Shadow and Narcissus', covent garden, 8th- 16th Sept The Other Art Fair, curated exhibition by Aida Wilde 20/20, October, The Old Truman Brewery The Auction Collective/Soho Revue Gallery- Live Auction entitled '50 x 50′ at The Soho Revue Gallery 17th Nov 21 Art For Charity Collective- Online Live Auction 1st November Janet Rady Fine Art/Artsy- 'Making a Splash' online group exhibition on Artsy, 4th Aug- 1st Sept Well Hung Gallery- Group exhibition 'Small Wonders', 253 Hoxton Street, 01.07.21-04.07.21 Royal Academy of The Arts- Poster on display and available in the RA shop (May 21 re-opening) Art For Charity Collective- Online Live Auction on 24.03.21 2020- Heals in collaboration with The London Design Festival. September 2020 2019- Delphian Gallery open call exhibition, 28th March- 9th April- The Print Space 2018- Royal Academy of Arts Summer Exhibition- Painting also selected for gift cards and posters. Gallery Representation Power has works available via Royal Academy of Arts, Delphian Gallery, Heals, John Lewis, Print Club London, McCully & Crane, The Old Bank Vault, Hancock Gallery and Artsy. Statement about AOAP Submitted Artwork I created two artworks for AOAP. One is a still life painting based on my favourite vessel I own by ceramist Kelly Jessiman. The second is a painting of the view out of my studio window, looking over the skyline of St Leonards on Sea.
Elizabeth Power Studio View Acrylic Paint on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a colour palette rich in coral pinks, forest greens and cool blues. Drawing inspiration from Colourists such as Matisse, Hockney and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Heals, John Lewis, The London Design Festival, Itsu, Artsy, Delphian Gallery, Art For Charity Collective, Print Club London, The Auction Collective and The Old Bank Vault. Education Elizabeth Power graduated from the University of the Arts London in 2010 but has long since explored an expressive use of bold colour to capture the compelling beauty of her landscapes. Select Exhibitions/Awards 2021 Delphian Gallery- Duo exhibition with Cathy Tabbakh 'Fatal Shadow and Narcissus', covent garden, 8th- 16th Sept The Other Art Fair, curated exhibition by Aida Wilde 20/20, October, The Old Truman Brewery The Auction Collective/Soho Revue Gallery- Live Auction entitled '50 x 50′ at The Soho Revue Gallery 17th Nov 21 Art For Charity Collective- Online Live Auction 1st November Janet Rady Fine Art/Artsy- 'Making a Splash' online group exhibition on Artsy, 4th Aug- 1st Sept Well Hung Gallery- Group exhibition 'Small Wonders', 253 Hoxton Street, 01.07.21-04.07.21 Royal Academy of The Arts- Poster on display and available in the RA shop (May 21 re-opening) Art For Charity Collective- Online Live Auction on 24.03.21 2020- Heals in collaboration with The London Design Festival. September 2020 2019- Delphian Gallery open call exhibition, 28th March- 9th April- The Print Space 2018- Royal Academy of Arts Summer Exhibition- Painting also selected for gift cards and posters. Gallery Representation Power has works available via Royal Academy of Arts, Delphian Gallery, Heals, John Lewis, Print Club London, McCully & Crane, The Old Bank Vault, Hancock Gallery and Artsy. Statement about AOAP Submitted Artwork I created two artworks for AOAP. One is a still life painting based on my favourite vessel I own by ceramist Kelly Jessiman. The second is a painting of the view out of my studio window, looking over the skyline of St Leonards on Sea.
Olivia Strange Stud Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Olivia Strange's multi-disciplinary practice spanning sculpture, painting, installation, moving image and poetry, is characterised by a layered narrative and highly visceral aesthetic. The work is concerned with disarming patriarchal descriptors via exploration of her Italian roots and draws on themes of Greco-Roman mythology, the female body & jouissance to portray an empowering image of queer female subjectivity. Since graduating with Distinction from Chelsea College of Art- MA Fine Art (2017) having received the Vice Chancellor Scholarship, Strange has exhibited at Annka Kulty's Gallery presenting an ambitious large scale immersive installation as part of the inaugural Cacotopia show, Southwark Park Galleries, Liminal Gallery, Every Woman Biennial and Basis Projektraum. Strange has been selected for the 2021 cohort of the SPACE Studios X London Creative Network Artist Development Programme and the Ellipsis Prints 2021Commissioning Project. Most recently, Strange was shortlisted to receive the prestigious Ingram Collection Purchase Prize 2021. Education MA Fine Art (Distinction) - Chelsea College of Art Select Exhibitions/Awards S E L E C T E D E X H I B I T I O N S 2022, Liminal Gallery, Solo Show (upcoming) - Online 2021, Ingram Collection Purchase Prize 2021 shortlisted artists show- Unit 1 Gallery & Workshop, London - UK 2021, Every Woman Biennial, New York - US 2021, Instructions for Waiting, Liminal Gallery, London - UK 2021, Ellipsis Prints Commissioning Project for womxn + non binary artists, London - UK 2021, CARE DONT CARE, Basis Projektraum, Frankfurt - Germany 2021, Art On A Postcard, International Womens Day 2021, 36th Annual Open, Southwark Park Galleries, London (online) - UK 2017, Cacotopia, Annka Kultys Gallery, London - UK A W A R D S 2021 Ingram Collection Purchase Prize (shortlisted) Ellipsis Prints Commissioning Project for womxn + non binary artists, London 2020-21 London creative Network x SPACE Artist Development Programme 2016 Space Studio Award (shortlist), London 2015 Vice Chancellor Scholarship 2015 MA Fine Art Chelsea College of Art Statement about AOAP Submitted Artwork The three postcards I have presented for International Women's Day each aim to surface queer experience and offer an alternative empowering image of female subjectivity in an eroticized state. Oppressive bodily narratives are criticised via a whimsical and subversive language to refute binary ideals of 'femininity' and womxnhood.
Olivia Strange Pepto Bismol Buff Baby Acrylic on Board Signed on Verso 10 x 10cm (3¾ x 3¾ in.) About Olivia Strange's multi-disciplinary practice spanning sculpture, painting, installation, moving image and poetry, is characterised by a layered narrative and highly visceral aesthetic. The work is concerned with disarming patriarchal descriptors via exploration of her Italian roots and draws on themes of Greco-Roman mythology, the female body & jouissance to portray an empowering image of queer female subjectivity. Since graduating with Distinction from Chelsea College of Art- MA Fine Art (2017) having received the Vice Chancellor Scholarship, Strange has exhibited at Annka Kulty's Gallery presenting an ambitious large scale immersive installation as part of the inaugural Cacotopia show, Southwark Park Galleries, Liminal Gallery, Every Woman Biennial and Basis Projektraum. Strange has been selected for the 2021 cohort of the SPACE Studios X London Creative Network Artist Development Programme and the Ellipsis Prints 2021Commissioning Project. Most recently, Strange was shortlisted to receive the prestigious Ingram Collection Purchase Prize 2021. Education MA Fine Art (Distinction) - Chelsea College of Art Select Exhibitions/Awards S E L E C T E D E X H I B I T I O N S 2022, Liminal Gallery, Solo Show (upcoming) - Online 2021, Ingram Collection Purchase Prize 2021 shortlisted artists show- Unit 1 Gallery & Workshop, London - UK 2021, Every Woman Biennial, New York - US 2021, Instructions for Waiting, Liminal Gallery, London - UK 2021, Ellipsis Prints Commissioning Project for womxn + non binary artists, London - UK 2021, CARE DONT CARE, Basis Projektraum, Frankfurt - Germany 2021, Art On A Postcard, International Womens Day 2021, 36th Annual Open, Southwark Park Galleries, London (online) - UK 2017, Cacotopia, Annka Kultys Gallery, London - UK A W A R D S 2021 Ingram Collection Purchase Prize (shortlisted) Ellipsis Prints Commissioning Project for womxn + non binary artists, London 2020-21 London creative Network x SPACE Artist Development Programme 2016 Space Studio Award (shortlist), London 2015 Vice Chancellor Scholarship 2015 MA Fine Art Chelsea College of Art Statement about AOAP Submitted Artwork The three postcards I have presented for International Women's Day each aim to surface queer experience and offer an alternative empowering image of female subjectivity in an eroticized state. Oppressive bodily narratives are criticised via a whimsical and subversive language to refute binary ideals of 'femininity' and womxnhood.
Olivia Strange Arcades and Peaches Acrylic on Board Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Olivia Strange's multi-disciplinary practice spanning sculpture, painting, installation, moving image and poetry, is characterised by a layered narrative and highly visceral aesthetic. The work is concerned with disarming patriarchal descriptors via exploration of her Italian roots and draws on themes of Greco-Roman mythology, the female body & jouissance to portray an empowering image of queer female subjectivity. Since graduating with Distinction from Chelsea College of Art- MA Fine Art (2017) having received the Vice Chancellor Scholarship, Strange has exhibited at Annka Kulty's Gallery presenting an ambitious large scale immersive installation as part of the inaugural Cacotopia show, Southwark Park Galleries, Liminal Gallery, Every Woman Biennial and Basis Projektraum. Strange has been selected for the 2021 cohort of the SPACE Studios X London Creative Network Artist Development Programme and the Ellipsis Prints 2021Commissioning Project. Most recently, Strange was shortlisted to receive the prestigious Ingram Collection Purchase Prize 2021. Education MA Fine Art (Distinction) - Chelsea College of Art Select Exhibitions/Awards S E L E C T E D E X H I B I T I O N S 2022, Liminal Gallery, Solo Show (upcoming) - Online 2021, Ingram Collection Purchase Prize 2021 shortlisted artists show- Unit 1 Gallery & Workshop, London - UK 2021, Every Woman Biennial, New York - US 2021, Instructions for Waiting, Liminal Gallery, London - UK 2021, Ellipsis Prints Commissioning Project for womxn + non binary artists, London - UK 2021, CARE DONT CARE, Basis Projektraum, Frankfurt - Germany 2021, Art On A Postcard, International Womens Day 2021, 36th Annual Open, Southwark Park Galleries, London (online) - UK 2017, Cacotopia, Annka Kultys Gallery, London - UK A W A R D S 2021 Ingram Collection Purchase Prize (shortlisted) Ellipsis Prints Commissioning Project for womxn + non binary artists, London 2020-21 London creative Network x SPACE Artist Development Programme 2016 Space Studio Award (shortlist), London 2015 Vice Chancellor Scholarship 2015 MA Fine Art Chelsea College of Art Statement about AOAP Submitted Artwork The three postcards I have presented for International Women's Day each aim to surface queer experience and offer an alternative empowering image of female subjectivity in an eroticized state. Oppressive bodily narratives are criticised via a whimsical and subversive language to refute binary ideals of 'femininity' and womxnhood.
Janaina Tschäpe Winter I Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Janaina Tschäpe was born in Munich, Germany in 1973 and lives and works in New York. She has had solo exhibitions at the Den Frie Center of Contemporary Art, Copenhagen, Denmark; the Sarasota Art Museum, Florida; the Musée L'Orangerie, Paris, France; the Museum of Contemporary Art Tucson, Arizona; Kasama Nichido Museum of Art, Kasama, Japan; the Irish Museum of Modern Art, Dublin, Ireland, and the Contemporary Museum of Art, St Louis. She has been featured in numerous group exhibitions at venues including The Lewis Glucksman Gallery, Cork, Ireland; NCA Taipei, Taiwan; Whitechapel Gallery, London; TBA21-Augarten, Vienna, Austria; CCBB, Rio de Janeiro, Brazil; Centre D'Art Contemporain de Normandie, France; 21st Century Museum of Contemporary Art, Nanazawa, Japan; Instituto Tomie Ohtake, São Paulo; Storefront for Art and Architecture, New York; National Museum of Women in the Arts, Washington D.C.; Pratt Manhattan Gallery; OCA Museu da Cidade, São Paulo; Kunsthal Kade, Netherlands; Cidade Matarazzo, São Paulo, Brazil; Ronnebaeksholm, Denmark; Cultural Centro Banco do Brazil in Belo Horizonte, Brazil; Museum of Fine Arts Boston, Massachusetts; and Museum of Contemporary Art Taipei, Taiwan. Tchäpe's work is found in important public collections including Centre Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Harvard Art Museum, Cambridge, Massachusetts; Museu de Arte Moderna do Rio de Janeiro, Brazil; Moderna Museet, Stockholm, Sweden; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; and the Solomon R. Guggenheim Museum, New York, among others. She has completed public commissions in New York City; Miami Beach, Florida; São Paulo, Brazil; and Holbæk, Denmark. Education 1997-1998 Master in Fine Arts, School of Visual Arts, New York 1992-1997 Bachelor of Fine Arts, Hochschule für bilende Künste, Hamburg, Germany Gallery Representation Sean Kelly Gallery in New York / Fortes D'Aloia & Gabriel, São Paulo, Brazil / Galleri Bo Bjerggaard, Copenhagen, Denmark / nca | nichido contemporary art, Tokyo, Japan
Janaina Tschäpe Winter II Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Janaina Tschäpe was born in Munich, Germany in 1973 and lives and works in New York. She has had solo exhibitions at the Den Frie Center of Contemporary Art, Copenhagen, Denmark; the Sarasota Art Museum, Florida; the Musée L'Orangerie, Paris, France; the Museum of Contemporary Art Tucson, Arizona; Kasama Nichido Museum of Art, Kasama, Japan; the Irish Museum of Modern Art, Dublin, Ireland, and the Contemporary Museum of Art, St Louis. She has been featured in numerous group exhibitions at venues including The Lewis Glucksman Gallery, Cork, Ireland; NCA Taipei, Taiwan; Whitechapel Gallery, London; TBA21-Augarten, Vienna, Austria; CCBB, Rio de Janeiro, Brazil; Centre D'Art Contemporain de Normandie, France; 21st Century Museum of Contemporary Art, Nanazawa, Japan; Instituto Tomie Ohtake, São Paulo; Storefront for Art and Architecture, New York; National Museum of Women in the Arts, Washington D.C.; Pratt Manhattan Gallery; OCA Museu da Cidade, São Paulo; Kunsthal Kade, Netherlands; Cidade Matarazzo, São Paulo, Brazil; Ronnebaeksholm, Denmark; Cultural Centro Banco do Brazil in Belo Horizonte, Brazil; Museum of Fine Arts Boston, Massachusetts; and Museum of Contemporary Art Taipei, Taiwan. Tchäpe's work is found in important public collections including Centre Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Harvard Art Museum, Cambridge, Massachusetts; Museu de Arte Moderna do Rio de Janeiro, Brazil; Moderna Museet, Stockholm, Sweden; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; and the Solomon R. Guggenheim Museum, New York, among others. She has completed public commissions in New York City; Miami Beach, Florida; São Paulo, Brazil; and Holbæk, Denmark. Education 1997-1998 Master in Fine Arts, School of Visual Arts, New York 1992-1997 Bachelor of Fine Arts, Hochschule für bilende Künste, Hamburg, Germany Gallery Representation Sean Kelly Gallery in New York / Fortes D'Aloia & Gabriel, São Paulo, Brazil / Galleri Bo Bjerggaard, Copenhagen, Denmark / nca | nichido contemporary art, Tokyo, Japan
A Medieval silver gilt garnet set ring, 14th century and a Medieval buckle, the ring with rectangular pie-dish bezel, set with a rectangular cabochon garnet, between stepped shoulders, to plain round-section shank; the small buckle of flat circular ring form, the tapered pin with collar, ring size Q-R, buckle diameter 7mm. (2) £400-£600
A post-medieval gold posy ring, circa 1650-1730, of heavy gauge, the hoop of D-shaped cross section, engraved to the flat interior with two line inscription in italic script reading ‘The eye doth finde the hart doth chuse / Faith doth binde and death doth loose’, maker’s mark probably ‘DA’ within shield-shaped punch, ring size R-S. £2,000-£3,000 --- The ring is recorded on the Portable Antiquities Scheme database, Ref: DOR-364BBF, and has subsequently been disclaimed as Treasure. Ciorstaidh Hayward Trevarthen notes in the PAS Report: “This is a somewhat unusual example of a posy ring in having a two-line inscription rather than the more commonly seen single line. For other examples of such double-line inscriptions see BM 1961,1202.93 (Salisbury, circa 1595-1633) and BM 1961,1202.28 (16th or 17th century). In its heaviness, BM 1961,1202.93 resembles 2020 T718. The inscription is not found on any parallels in the British Museum. A variant of this inscription [The eye doth find, the heart doth choose, and love doth bind till death doth loose] was engraved in a ring made for Thomas Whythorn, court musician in 1569 (David Cressy: Birth, Marriage, and Death: Ritual, Religion and the Life-Cycle in Tudor and Stuart England, 1997, 343) demonstrating that long inscriptions do not tie rings to later periods”. Joan Evans (1931, 35) records another variant [Eye doth find, heart doth chose, Faith doth bind, death doth lose] in Edward Brooke’s commonplace book of 1605. “The maker’s mark appears to be the initials DA in a shield. There are several London makers with these initials recorded in Jackson (1905) starting in 1689-90 (ibid p. 141) through to 1724-25 (ibid p. 168), but the later examples are more elaborate than this one. The closest in terms of the shape of the shield and minimal other ornament is that of Josiah Daniel recorded for 1714 – 15 (ibid p.159), but other possibilities are Isaac Dalton in 1711-12 (ibid p.157) Andrew Dalton in 1709 – 10 (ibid p.155) and an unnamed maker in 1689-90 (ibid p.141)”. Literature: Cressy, David, Birth, Marriage, and Death: Ritual, Religion and the Life-Cycle in Tudor and Stuart England, (1997) Evans, J[ohn], Posy Rings: a Friday evening discourse at the Royal Institution (March 25 1892) Evans, J[oan], English Posies and Posy Rings (London 1931) Jackson, C.J., English Goldsmiths and Their Marks (London 1905) Oman, C., British Rings 800-1914 (London 1974)
A rubellite and diamond dress ring by Mary Carmen, the oval mixed-cut rubellite in twin claw settings, between diamond set shoulders, each collet set with a trio of brilliant-cut diamonds, total diamond weight approximately 0.25 carat, ring size R. £800-£1,000 --- Accompanied by a report card from Mary Carmen stating that the rubellite weighs approximately 10 carats. Report number SB-209, dated 7 December 2000.
Cyma. A gold square wristwatch, Ref. 7249, Cymaflex, circa 1950 Movement: cal. R.404KQ, manual winding, 17 jewels, no. 116252 Dial: silvered, applied Arabic and stylised baton indexes, subsidiary seconds Case: 18ct gold, snap-on back Signed: case, dial and movement Dimensions: length including lugs 36.5mm, width 29mm. Accessories: Cyma presentation case £150-£200
A late 19th century pearl ring and a coral ring, 1870, the first set with a row of graduated half pearls in shared claw settings, mounted in 15ct gold, the second bezel set with a series of graduated Corallium Rubrum cabochons, mounted in 18ct gold, London hallmark, ring sizes R and S respectively. £360-£460 --- Please note coral is covered by CITES legislation and may be subject to import/export and trade restrictions and USA Fish and Wildlife regulations. Please be aware that it is the buyer’s responsibility to arrange any CITES export license for their purchases. More information can be found at www.cites.org.
A leather cased vanity set, by Aspreys, London 1904, the leather case with silver and silver-mounted brushes, bottles and jars, the brown leather case and each piece monogrammed 'C. B-R', total weighable 17.7oztCondition report: All pieces with surface scratches, knocks and dents, some pieces missing, overall good condition
Loading...
