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Lawrences Auctioneers of Crewkerne
Lot 12

A MIXED LOT:- A pair of Old English pattern sauce ladles, initialled "S", by Sarah & John William Blake, London 1817 together with four various antique table spoons and five dessert spoons, most pieces initialled; 14.5 oz (11)

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Lawrences Auctioneers of Crewkerne
Lot 62

A SET OF FIVE GEORGE III PICTURE-BACK TEA SPOONS scratched "S" over "TM", with a basket of flowers below the drop, by Henry Bickerton, London c.1765, another similar, initialled "TT" over "EB" by Thomas Devonshire & William Watkins, London c.1760 and eight fancy back tea spoons, all initialled, with shells below their drops; 4.8 oz (14)

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Lawrences Auctioneers of Crewkerne
Lot 84

FIDDLE & THREAD PATTERN FLATWARE (SINGLE STRUCK):- A set of six table spoons, initialled, by S. Hougham, London 1813, a set of four table spoons, initialled "W", by Messrs. Eley, Fearn & Chawner, London 1809, a large serving fork and a large serving spoon, crested to match, by two different makers, London 1825/26 and a basting spoon, engraved with two crests, by Thomas Barker, London 1822; 41.5 oz (13)

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Lawrences Auctioneers of Crewkerne
Lot 315

A PAIR OF 20TH CENTURY SAUCE BOATS with leaf-capped flying scroll handles, by S. Blankensee & Sons, Birmingham 1939 and another single sauce boat by Asprey & Co.Ltd., Birmingham 1916; the latter 6.2" (15 cms) long; 9.6 oz (3)

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Lawrences Auctioneers of Crewkerne
Lot 404

A LATE VICTORIAN EMBOSSED STAMP BOX rectangular, on a bevelled base with a gilt interior and three divisions by Deakin & Francis, Birmingham 1894 and a small cockerel seal, initialled "V" (intaglio) by S. Mordan & Co., Chester 1910; the box 3" (7.5 cms) long; 2.5 oz (2)

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Lawrences Auctioneers of Crewkerne
Lot 9

TEA SPOONS:- A set of ten Fiddle tea spoons, initialled "S", by Mary Chawner, London 1837, a set of six Old English pattern tea spoons, initialled "ED", by William Bateman, London 1821 and a set of six King's Husk tea spoons, initialled, by William Eaton, London 1834; 17.5 oz (22)

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Lawrences Auctioneers of Crewkerne
Lot 274

A VICTORIAN SMALL EMBOSSED TEA POT on four lion mask feet, with a baluster body, a leaf-capped scroll handle and a flower finial by John S. Hunt (for Hunt & Roskell - late Storr & Mortimer), London 1862; 5.2" (13 cms) high; 14.75 oz

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Thomas Watson
Lot 446

1920's/30's oak leaded door bureau centre cabinet and two 1950's bedroom chairs (3)

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Thomas Watson
Lot 441

1930's walnut five piece bedroom suite comprising ladies and gents wardrobes, dressing table, bedside cabinet and double bedstead

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Thomas Watson
Lot 327

William Moorcroft (1872-1945), a 1930's salt glazed vase, of ovoid form, tubelined and hand painted with peacock feathers, blue painted signature and impressed marks, 31.5cm

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Thomas Watson
Lot 572

1920's oak double pedestal roll top desk, 122cm wide

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Gildings Auctioneers
Lot 23

Two Bohemian blue overlaid cut glass vases, 46cm and 33cm, with invoices and letters dating to the 1920's

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Gildings Auctioneers
Lot 226

A South African Half Pond 1896, set in a yellow metal wire edge pendant mount on a 9 carat yellow gold fine S link chain 40cm long, total weight approximately 6.8gms.

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Gildings Auctioneers
Lot 337

S. E. C., Pear branch, initialled, oil on canvas, 78 x 38cm.

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Stephan Welz & Co
Lot 568

silkscreen 32,5 by 51cm Couers Volants is the French name of the iconic Marcel du Champ optical work that graced the cover of Cahiers d ?Art Volume 11, Nos. 1-2, published in Paris in 1936. It was used to illustrate the famous essay by Gabrielle Buffet-Picabia?s by the same title, Coeurs Volants, a ground-breaking study of the artist?s optical works.

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Stephan Welz & Co
Lot 851

the diamonds totaling approximately 1ct, size ?S?

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Stephan Welz & Co
Lot 539

signed oil on board 33 by 56,5cm (including frame) In this mixed media work the artist evokes a humble corrugated iron shelter and white-washed lean-to with a series of golden-yellow rounded forms, reminiscent of pumpkins ripening on a roof. He has cleverly extended the canvas onto the surrounding striations of the picture frame in order to depict smoke rising from the whitewashed chimney, creating in his own distinct manner an iconic rural Cape scene. Stanley Pinker was an artist and recipient of the Molteno Medal for painting. His contribution to our cultural landscape is immeasurable and he is celebrated as belonging to a continuum of great artists from Cezanne to Matisse He worked at Michaelis School of Fine Art as a lecturer for many years until 1986 when he retired. In 2012, at the age of 87, he passed away after a lifetime in art. ?He was one of the few SA painters who understood and continued to explore the implications of Cubism and painterly, textural surface-materiality with intelligence and wit. Ingenious in his magpie eclecticism, he drew inspiration from the moderns from Cezanne to Braque to Matisse to Klee. Infusing his work with something of the humour of pop art, he focused on subjects and an ironic content particularly reflective of South(ern) Africa?s beautiful landscapes; its society and its ills, creating a unique vision and a leaving us a great artistic legacy. No SA art museum can ever have enough of his work.? Hayden Proud, curator of historical paintings at Iziko SA National Gallery, was taught by Pinker. - Carol Kaufmann

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Stephan Welz & Co
Lot 494

signed with the artist's initials oil on canvas Thompson, J., Gwelo Goodman: South African Artist, Howard B Timmins, Cape Town, 1951 illustrated on p60-61 59 by 74cmNewlands House, where Robert Gwelo Goodman would make his residence in 1920, had during the time of World War I served as a hospital. Upon seeing the house for the first time not only was he struck by its beauty, but he immediately began to imagine the practical steps he could take to make it liveable, loveable and enjoyable. He saw the house as it used to be, with its magnificent rooms and 5 meter high ceilings, huge windows, and, as depicted in the current lot, a central passage 3.5 meters wide and 28 meters long - a home that was at the same time spacious, cool and wholly beguiling. Gwelo had always held a fascination with furniture and was a keen collector thereof. After placing all the furniture items he had so meticulously collected in England, he found himself with much room to fill, and so began his passion for collecting Cape furniture. This is noticeable in The Hall, Newlands House which is bedecked almost entirely with Cape pieces, showcasing two armoires, a pair of demi-lune tables, a stinkwood occasional table, two gueridons, a caned chair, and a low cupboard upon which a depiction of Ruth Prowse by Moses Kottler, now homed in the IZIKO South African National Gallery, serenely sits. Once Gwelo and his wife had furnished their home to satisfaction, the house took on somewhat of the character of a gracious museum. It was during his time assisting Dora Fairbridge in writing her book, Historic Houses of South Africa, that Gwelo found a fascination in depicting his own home. My Studio of 1919, the present lot: The Hall of 1922 and The Dining Room painted in 1922/3 are considered amongst Gwelo?s finest works during this period. - Kayleen Wrigley

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Stephan Welz & Co
Lot 94

London: Methuen & Co, 1898 FIRST EDITION, 8vo, xi + 408 + 40 ad pp, original green publisher?s cloth with hunting scene in gilt, numerous illustrations, folding map with one tear, foxing in prelims, spine opening at front and back hinge

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Stephan Welz & Co
Lot 1038

the oval body with bands of foliage centred by a crest and opposing unicorn crest, possibly the Carrington crest, applied with a turned wooden leafcapped shaped handle, the hinged cover with S-scroll design surmounted by a turned-wooden oval finial 15cm high, 480g; and A George III Silver Oval Tray, John Eames, the ring-turned rim centred by a unicorn crest within a leaf engine-turned and dotted surround 16cm long, 217g loaded (2)

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Stephan Welz & Co
Lot 800

the vintage men?s rolled curb chain, of typical form, with safety catch

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Stephan Welz & Co
Lot 525

inscribed with the title on a plaque adhered to the front of the frame ; Inscribed on the back with the artists name and address. 89 by 135cm (excl ornate gilt frame)Herbert Gustave Schmalz (1856-1935) was an English painter who renamed himself Herbert Gustave Carmichael after World War 1 to avoid popular anti-German sentiment prevalent at the time. The son of a German father and English mother, he received his initial art training at the South Kensington School of Art and later at the Royal Academy of Arts, completing his studies at the Royal Academy of Arts in Antwerp. Although little known nowadays, Carmichael had a successful career in his day and trained under some important painters. He exhibited widely, including at the Royal Academy, the Fine Art Society on Bond Street (where he had a solo exhibition in 1900 of forty paintings); the Grosvenor Gallery and the Royal Society of Portrait Painters. His works were very popular and were reproduced as prints and in magazines of the time, including a much loved moody and romantic portrait of Elizabeth Barrett Browning painted in the late 19th century. Associated with the late Pre-Raphaelites, he made a name for himself as a history painter. He lived in the Kensington area of London, and was friends with William Holman Hunt and Frederic Leighton, marrying the sister of Dorothy Dene, a favourite model for Leighton. His style was heroic, influenced by the Pre-Raphaelites and Orientalism. The influence of Frederic Leighton on his work is profoundly apparent, in the choice of academic subject matter, society portraits and later landscapes of biblical sites Palace of the Popes - Avignon was painted later in the artist?s career, after World War 1. A monumental work, it initially appears as a secular landscape painting of an early-renaissance palace bathed in golden light, however it has an important historical-Christian theme. Avignon was the seat of the Holy Roman Empire in exile after the schism of the church, and the palace was constructed on the orders of the new Pope Benedict XII in 1334. Successive Popes elaborated and extended the building until it became the soaring, majestic palace of this painting, with a maze of rooms, chapels and courtyards exquisitely decorated and embellished, making it the grandest Gothic palace of Europe. Today, Palais des Papes is a UNESCO World Heritage Site revered by lovers of architecture, history and splendour. In Palace of the Popes Avignon, the artist presents an early evening scene of the palace viewed from the river below and described - on the reverse of the painting in his own elaborate hand - as 'Betwixt the new moon and the sinking sun'. Schmalz's work is well represented in major public collections such as the Royal Academy and others in Europe, America and Australia including the Bendigo Art Gallery. The work is framed in its original beautifully modelled French gilt frame made by the Royal gilders, James Bourlet & Sons Ltd., of Nassau Street, West London as registered on the Royal Portraits Gallery?s list of framers from 1895-1903. - Carol Kaufmann

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Stephan Welz & Co
Lot 50

London: The Trianon Press, 1955 - 1960 FIRST & LIMITED EDITIONS, folios with publisher?s slip cases. THE WHITE LADY OF THE BRANDBERG, 1955; PHILIPP CAVE, 1957; THE TSIAB RAVINE AND OTHER BRANDBERG SITES, 1959; ANIBIB AND OMANDUMBA, 1960 (4) THE WHITE LADY OF THE BRANDBERG, 1955, tan cloth, no dust jacket, 24 colour and numerous B&W illustrations. Complete, but all the pages are loose, foxing on eps. PHILIPP CAVE, 1957, light blue cloth, wear to dust jacket with tears and paper loss, 29 colour and numerous B&W illustrations, foxing on eps, text pages and one colour plate. THE TSIAB RAVINE AND OTHER BRANDENBERG SITES, 1959, ochre cloth, dust jacket with a few tears and minimal paper loss, 78 colour and numerous B&W illustrations, foxing on eps. ANIBIB AND OMANDUMBA, 1960, blue cloth, dust jacket with a few tears and minimal paper loss, 80 colour plates and numerous B&W illustrations, minimal foxing on eps. (4)

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Stephan Welz & Co
Lot 54

London: Nernard Quaritch, 1875 - 1884 8vo, 890 pp (856-867 missing as issued), 12 plates hand coloured, half leather with green cloth, marbled ep, fore and bottom edges uncut, edges rubbed, book plate on ep, spine cracked next to title page, title page loose, previous owner?s name on ep, original owner?s name is J Riddell of 16th (Queens) Lancers and he made pencil notes in parts of the book

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Stephan Welz & Co
Lot 81

FIRST EDITION, 8vo, xiii + 435 pp, 17 illustrations, original green cloth with gilt decoration on front board and gilt title on spine, previous owner?s name on flyleaf, foxing on frontis and plates

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Stephan Welz & Co
Lot 540

signed on the reverse stencil and mixed media on metal shelf 91 by 43cm The proceeds of the sale of the following lot will benefit Greatmore Studios Bambi is a contemporary British street artist whose work was first noticed in 2011 in the streets of London. Not much is known about the personal life of the artist who has gained popularity under the pseudonym derived from her childhood family name ?Bambino?. While her identity remains a well-kept secret, she has disclosed that she was previously a prominent singer. Described by many as the female Banksy, her work has been sought after by various collectors including the likes of Rihanna, Robbie Williams, Brad Pitt and Adele. Working in the streets of Northern London, she presents critiques of contemporary culture, often using images of popular contemporary icons to illustrate the commodification of the art world and other social, political and environmental issues. Her work Tata (Yellow) 2013, depicts Nelson Mandela in a signature bright shirt and was created in the same year as his passing. The title, Tata, references Mandela?s nickname which he was often fondly referred to and includes the phrase ?It always seems impossible until it?s done?. This piece is a celebration of Mandela?s hope, strength and resilience that inspire millions around the world to this day. Its popularity is evident when one considers the numerous graphic reproductions of this work that are still being sold. ?I learned that courage was not the absence of fear, but the triumph over it. The brave man is not he who does not feel afraid, but he who conquers that fear. It always seems impossible until it?s done.? -Nelson Mandela - Caitlin Snethlage

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Stephan Welz & Co
Lot 566

signed colour silkscreen and offset lithograph on wallpaper 53 by 52cm Damien Hirst, arguably the most celebrated creative to come from the Young British Artists (YBAs) movement, completed his training at Goldsmiths College in London. In 1988 Hirst conceived and created ?Freeze?an exhibition of his work as well as the work of his fellow students at Goldsmiths. In the 28 years following that show, Hirst has become one of the most prominent artists of his generation. His work is widely recognised, from the shark suspended in formaldehyde, The Physical Impossibility of Death in the Mind of Someone Living (1991) and his spot, spin and butterfly paintings, through to later works like For the Love of God (2007), a diamond encrusted skull. Throughout his work, Hirst takes a direct and challenging approach to ideas about existence. His work calls into question our awareness and convictions about the boundaries that separate desire and fear, life and death, reason and faith, love and hate. Hirst uses the tools and iconography of science and religion, creating sculptures and paintings whose beauty and intensity offer the viewer insight into art that transcends our familiar understanding of those domains. ?There are four important things in life: religion, love, art and science,? the artist has said. ?At their best, they?re all just tools to help you find a path through the darkness. None of them really work that well, but they help. Of them all, science seems to be the one right now. Like religion, it provides the glimmer of hope that maybe it will be alright in the end.? The wallpaper exhibited in lot 816 takes its name from the Tate Britain exhibition in which it was originally used to clad the walls of this highly respected institution. The name for the exhibition, In-A-Gadda-Da-Vida, was borrowed from the title track of an LP released in 1968 by the rock band, Iron Butterfly. The song was originally going to be called ?In the Garden of Eden?. Legend has it that the lead singer was so drunk when he first announced the song?s title that one of the band members wrote down phonetically the slurred words ?In-A-Gadda-Da-Vida?. The title suggests an overt theme: broadly, the contemporary consequences of the original myth of falling from grace, but the exhibition also reveals the differing formal and material approaches of three artists, Sarah Lucas, Angus Fairhurst and Damien Hirst, and how they use metaphor in diverse ways. In this exhibition, Hirst constructed complex installations inside vitrines and displayed grandiose collages using real butterflies and flies in addition to designing the very intricate wallpaper which we see in lot 816.- Barkham, P., Damien Hirst?s Butterflies: Distressing but Weirdly Uplifting, The Guardian, 18 April 2012 Online, available: https://www.theguardian.com/environment/2012/apr/18/damien-hirst-butterflies-weirdly-uplifting- Gagosian, Damien Hirst. Online, available: http://www.gagosian.com/artists/damien-hirst - Tate Britain, In-a-Gadda-Da-Vida: Angus Fairhurst, Damien Hirst and Sarah Lucas, March 2004. Online, available: http://www.tate.org.uk/whats-on/tate-britain/exhibition/gadda-da-vida

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London Auctions - Chiswick High Road
Lot 218

A 19th century S Johnson Ltd tea service in the Imari palette, of octagonal form, with gilded detail, comprising a teapot with stand, two jugs and a sugar bowl,

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London Auctions - Chiswick High Road
Lot 6

A vintage, 1950's Tri-Ang wooden baby walker on wheels containing painted wooden blocks (50 x 47 x 35 cm) with a wicker basket containing a small assortment of model cars and planes. (2)

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London Auctions - Chiswick High Road
Lot 60

A collection of silver items and cameos to include three silver brooches, a silver filigree butterfly hair comb, silver ring, silver crucifix pendant, silver hallmarked letter clip, a large shell cameo brooch set in a silver and marquisite mount, a smaller similar example on a silver S- link chain and a loose shell cameo. (11)

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Criterion Auctioneers
Lot 286

A vintage tractor light together with 1950's heat lamp.

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Criterion Auctioneers
Lot 409

A 1970's teak sideboard with three central drawers flanked by four cupboard doors, raised on tapered legs. H-76cm, W-197cm, D-42cm

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Criterion Auctioneers
Lot 67

A 1950's date display, makers mark to verso. H.26cm

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Criterion Auctioneers
Lot 482

An art deco French carved stone bust of Apollo signed Jean-Louis Chorel (1875-1946) Circa 1930's. H-45cm

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Criterion Auctioneers
Lot 174

A collection of 1950's Venetian glass animals to include an angel

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Criterion Auctioneers
Lot 288

An art deco bronze statue in the form of a 1920's female.

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NL Auction Rooms
Lot 173

EIGHT 1930'S SILVER PLATED NAPKIN RINGS

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Mullen's - Laurel Park
Lot 853

S MILLET, FRENCH SCHOOLRiver Landscape with CottagesSigned lower leftOil on canvas

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Clarke and Simpson Auctions
Lot 11

Five boxes of 1950's / 60's 7" single records to include The Beatles, Rolling Stone, Elvis Presley etc. approx 1500

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Clarke and Simpson Auctions
Lot 306

A 1930's three hole mantel clock; and a regulator wall clock

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Mullen's - Laurel Park
Lot 273

A 20TH CENTURY MAHOGANY ART DECO STYLE OCCASIONAL TABLE, the plain top above the S shaped support with open shelves on circular plinth with block ends 74cms x 74cms

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Mullen's - Laurel Park
Lot 894

A WALL MOUNTED CIRCULAR CHARGER, painted with a dog in a landscape, signed S Ellis, together with a pair of blue and white plates (3)

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Capes Dunn
Lot 119

A CIRCA 1940's CARVED OAK DINING ROOM SUITE OF SIX PIECES, COMPRISING; A DRAW-LEAF TABLE, FOUR CHAIRS AND A SIDEBOARD

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Capes Dunn
Lot 14

CIRCA 1930's PINK TINTED WALL MIRROR, CIRCULAR WITH SHAPED BORDER, 24" DIAMETER AND TWO OTHER FRAMELESS WALL MIRRORS, ONE WITH PLATED METAL SIDE MOUNTS (3)

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Gorringes
Lot 716

A 1930's black lacquer lamp standard H.150cm

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Gorringes
Lot 573

Two gentleman's 1920's/1930's Omega manual wind wrist watches, one with silver case.

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Gorringes
Lot 579

A gentleman's 1960's stainless steel Omega Seamaster manual wind 600 wrist watch, movement c.611.

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Gorringes
Lot 578

A gentleman's early 1970's stainless steel Bulova alarm wrist watch, with blue dial, baton markers and date aperture, on associated leather strap.

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Gorringes
Lot 583

A lady's late 1920's 9ct gold manual wind wrist watch.

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Gorringes
Lot 67

A 1920's black lacquer mantel timepiece

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Gorringes
Lot 580

A gentleman's late 1940's stainless steel Omega manual wind wrist watch.

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Gorringes
Lot 571

A gentleman's 1970's gold plated Omega manual wind wrist watch, with Omega box.

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Gorringes
Lot 527

A pair of 1930's 18th century style silver candlesticks, with waisted knopped stems, Hawksworth, Eyre & Co, Birmingham, 1935, 25.5cm, weighted.

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Gorringes
Lot 581

A 1950's boy's? size stainless steel Cyma manual wind wrist watch.

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Gorringes
Lot 717

A pair of 1940's natural finish reclining chairs

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