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A circular bead rim tray (d 38cm) an Epns lion mask ring handled ice bucket, a pair of silver plated goblets in presentation box, a set of six plated coffee spoons, a set of six plated pastry forks, a collection of miscellaneous condiments, a pewter mounted hip flask, a daisy shaped moulded dish, a set of three miniature white metal wire baskets, a plated tray a silver napkin ring and a cake stand etc (a lot)
A white metal half eternity ring with ten diamonds, size N/M, weighs 2.22 grammes, a yellow metal pendant in the form of a heart with clear stone to centre, small pendant marked 9ct, with diamond, loose clear stone amethyst and two opals, an enamel box with B (a lot)
J R R TOLKIEN: THE HISTORY OF MIDDLE-EARTH - THE BOOK OF LOST TALES, PARTS 1 AND 2 - THE LAYS OF BELERIND - THE SHAPING OF MIDDLE-EARTH - THE LOST ROAD - THE RETURN OF THE SHADOW - THE TREASON OF ISENGARD - THE WAR OF THE RING - SAURON DEFEATED - MORGOTH'S RING, 1983-1993, 1st editions, 10 (of 12) volumes, each original cloth gilt dust wrapper (10)
GOIN,THE MOONCHILD,2 Colours screenprint (Gold / Black) on Somerset satin white 300 g/m² paper, sgned and marked AP,18cm x 24cm,Artist ProofGoin has been a rebel calling out injustice since his first works in the late 90's. Rather than take his lead from newspaper headlines, he seizes on subjects he finds intolerable and transforms them in to images, with an eye for the best visual punch-line. In his work Moonchild he depicts a child wearing an astronauts helmet holding a flag that shows a heart surrounded by a planetary ring. I wonder if the child has just landed from another planet bringing us hope, or is it asking for help from outer space to leave this planet by waving a flag of surrender in a quest for love? Is the child representative for all those younger generations fighting for their future.
§ Peter Chang (British 1944-2017) Man's Ring, 1988 acrylic and silvered metalDimensions:6.7cm high, 6.7cm wide (2 5/8in high, 2 5/8in wide)Provenance:Provenance:Scottish Gallery, Edinburgh;Private Collection, London.Note: Exhibited:Schmuckmuseum, Pforzheim, Peter Chang: It's Only Plastic ... Schmuck Objekte Skulpturen, June - September 2002 travelling to Kunstgewerbemuseum, Berlin (October 2002 - January 2003), Bayerischer Kunstgewerbeverein, Munchen (January 2003 - March 2003) and Deutsches Goldschmiedehaus, Hanau (March 2003 - May 2003);Walker Art Gallery, Liverpool, Peter Chang, June - September 2007, travelling to Somerset House, London and Kelvingrove Museum, Glasgow. Plastic Fantastic “The pieces I create can be sculptures or they can be worn as jewellery. Each individual will have a different response to them and I like that.” (Peter Chang) Peter Chang had been called the Faberge of 21st Century, with his outlandish, extravagant, unorthodox and off-the-wall jewellery creations. He exploited the fundamental qualities of plastic with his high voltage colours and the malleability of the material, continually developing new techniques and ideas that earnt him a global reputation as one of the foremost maker’s in his field. Chang used plastic because it reflected the age we live in, was anonymous and could be moulded and sculpted into objects of splendour and frivolity. He saw himself as a visual artist aiming to create a synthesis between jewellery and sculpture with a hint of fantasy thrown in and he noted that ‘I like to incorporate a bit of fun: spice it up. People take things too seriously,’ Over his career he won numerous international awards including the Jerwood Prize for Applied Arts in 1995 for his ‘lasting significance and daring brilliance’, had major exhibitions at the likes of the Musée d'Art Moderne, Paris, and in Germany at the Schmuckmuseum Pforzhei and his work is now held in the collections of museums including the Metropolitan Museum of Art in New York, the Smithsonian, the Musée des Art Decoratifs, Montreal and the National Museum of Scotland.

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