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Lot 2530
First quarter of 19th century silver pair-cased verge watch, No 3791, the gilt movement with pierced and engraved cock with diamond end stone and engraved regulation scale with mono-metallic balance and verge escapement with fitted dust cover to a Roman enamel dial with outside minute track and gilt spade hands in a hinged and polished case and outer, London 1823, maker's mark SB, width 56mm
Lot 2533
Mid-19th century silver cased open face lever watch, J Daniels - London, No 1847, frosted and gilt movement with engraved cock and diamond end stone with applied and silvered regulation scale with mono-metallic balance and lever escapement to a Roman enamel dial (rim hairlines at 6), with outside minute track subsidiary seconds and gilt spade hands (subsidiary seconds lacking) in a hinged and sprung case with engine turned back cover centred with a vacant gartered cartouche, London 1846, maker's mark RO, width 49mm
Lot 2540
Last quarter of 19th century silver cased open face lever watch "The Faringdon", 19656, frosted gilt movement with engraved cock and jewelled end stone with bi-metallic cut compensated balance and engraved regulation scale with lever escapement to a signed Roman enamel dial (hairlines) with outside minute track, sunk subsidiary seconds and blued steel spade hands in a hinged and sprung case with engine turned back cover centred with a vacant and gartered cartouche and coin milled band, London 1889, maker's mark WH and with corresponding case number, width 54mm
Lot 2556
Mixed Lot: third quarter of 19th century silver cased open face lever watch, W Edgar - 12 Pont Street, Belgrave Sqre, 514, the frosted gilt and jewelled movement with engraved and numbered cock, diamond end stone and mono-metallic balance with silvered and applied regulation scale and with lever escapement and fitted dust cover to a Roman enamel dial (rim chip and hairline) with outside minute track, sunk subsidiary seconds and blued steel spade hands in a hinged case with engine turned back cover centred with a vacant and gartered cartouche and coin milled band, London 1863, maker's mark JO, 514, width 46mm together with an early 20th century nickel cased open face keyless lever watch with frosted and gilt movement, bi-metallic balance and overcoiled hairspring to an Arabic enamel dial (multiple hairlines) with outside minute track, sunk subsidiary seconds and blued steel hands in a polished case with screw down bezel and back, 5527, various dates and makers (2)
Lot 2532
First quarter of 19th century silver cased open face lever watch, 37627, the frosted and gilt movement with engraved cock, diamond end stone and integral engraved regulation scale to a gilt mono-metallic balance and lever escapement with fitted dust cover to a Roman enamel dial with outside minute track, subsidiary seconds and gilt spade hands in a hinged and polished case, London 1824, maker's mark IMH, width 53mm
Lot 341
A William IV silver cased pocket watch by Massey & Windham, 78 Cornhill and 4 Birchin Lane, London, No. 1770, the white enamel dial with Roman numerals, gold hands and subsidiary seconds dial, to the cylinder movement, Bosley index with silvered scale, engraved cock with diamond endstone in blued steel setting, with turned pillars, plain dust cover, contained in engine turned case with engraved vacant cartouche to reverse, 52mm diameter (gross weight 129 grammes), hallmarked London 1834 and with case maker's mark "I.D.", a Victorian silver case cylinder pocket watch, No. 9713, the white enamel dial with Roman numerals and subsidiary seconds dial, to the cylinder movement (unsigned), in plain silver case, 48mm diameter (gross weight 94 grammes), and a late 19th Century Swiss lady's silver cased pocket watch with enamel dial, to the cylinder movement, in engraved silver case, 38mm diameter (gross weight 39 grammes)
Lot 340
A George III silver pair cased verge pocket watch, No. 15996 (unsigned), the white enamel dial with black chapter ring, Arabic numerals reversed out and gold hands, the movement with verge escapement with fusee, Tompion type index the silvered circular scale with Arabic numerals within engraved subsidiary plates, finely pierced and engraved cock and plain cylindrical pillars, in plain silver pair case, 60mm diameter (gross weight 161 grammes), hallmarked London 1805 and with case maker's mark "I.T." (John Taylor, 8 Wilderness Row, London)
Lot 45
A 19th Century Russian silvery metal and niello work rectangular snuff box, the lid decorated with a stag hunting scene within floral and scrollwork borders, the sides and base decorated with scale ornament, 3.625ins x 1.625ins x 1ins high, indistinct marks to inner rim (weight 3.49oz - some wear)
Lot 414
A R Penck Aka Ralf Winkler (German 1939-2017) COLOSSEUM, 1990 signed acrylic over silkscreen on canvas 180 by 240cm Neo-Expressionism is a style of painting and sculpture that developed between late Modernism and early Postmodernism. Some scholars, in fact, believe Neo-Expressionism played a vital role in the transition between Modernism and Postmodernism in that Neo-Expressionism accepted and rejuvenated historical and mythological imagery, as opposed to late modernism’s tendency to reject storytelling completely. Though many artists have practiced and revived aspects of the original Expressionism movement, it would appear that only the Neo-Expressionists have had far-reaching success. Georg Baselitz was a leading component, instigating a revival that dominated German art in the 1970s. By the 1980s this resurgence had become part of an international return to the sensuousness of painting, and a broad step away from the stylistically cool, distant sparseness of Minimalism and Conceptualism. All over the world artists began turning towards expressive directions, creating works that affirmed the redemptive power of art in general and painting in particular, drawing upon a variety of themes including the mythological, cultural, historical, nationalist and erotic. A. R. Penck is one of many pseudonyms of Ralph Winkler, a German Neo-Expressionist fine artist and jazz drummer. Penck is best known for his paintings and sculptures characterized by simplified figures and forms, and neo-primitive symbols and patterns. These lend his work a graffiti like quality, as is evidenced in Colosseum, 1990. Living in communist East Berlin, Penck was unable to exhibit his works. This led him to smuggle his works out to West Berlin and Switzerland, where he received enough acclaim to provide him with some protection from the East German authorities, until he was able to escape and settle in London. This background explains why Penck’s style fuses spontaneous self-expression with restraint, and pop culture and art historical influences with political and social concerns. Of the key tenets of Neo-Expressionism was the depiction of subject matter in a brutish manner. The frequently large-scale works, typical of the movement, exhibited highly textural and expressive brushwork and intense colours that had been rejected by the immediately preceding art movements. We see these ideas developed in the following lots by Penck, Jüchser, Morgner, Uhlig, König and Gallasch, all proponents of the Neo-Expressionist movement. Artsy. “A. R. Penck.” Accessed: 17 December 2018. https://www.artsy.net/artist/ar-penck The Art Story. “Neo-Expressionism.” Accessed: 17 December 2018. https://www.theartstory.org/movement-neo-expressionism.htm
![Battiss, Walter W. ART IN SOUTH AFRICA: BUSHMAN ART PORTFOLIO NUMBER ONE Pretoria: Red Fawn Press, [c.1940] FIRST EDITION, fo](https://cdn.globalauctionplatform.com/e740636f-e2f7-4084-9c03-a9d100c06f5a/0a6c3137-d9c5-4b04-a44b-a9d200cec0b5/468x382.jpg)
Lot 214
Battiss, Walter W. ART IN SOUTH AFRICA: BUSHMAN ART PORTFOLIO NUMBER ONE Pretoria: Red Fawn Press, [c.1940] FIRST EDITION, folio, 35 leaves: 3 text (printed on one side), 22 with 27 plates tipped in + 8 illus. + 2 contents + extra plate at one fourth scale, limp boards with clear plastic cover, top and bottom of paper spine cover of torn with loss, notch and 3cm tear on top corner of contents page
Lot 417
Max Uhlig (German 1937-) GROßER KOPF signed and dated 84 chalk and watercolour on paper 76 by 51cm Neo-Expressionism is a style of painting and sculpture that developed between late Modernism and early Postmodernism. Some scholars, in fact, believe Neo-Expressionism played a vital role in the transition between Modernism and Postmodernism in that Neo-Expressionism accepted and rejuvenated historical and mythological imagery, as opposed to late modernism’s tendency to reject storytelling completely. Though many artists have practiced and revived aspects of the original Expressionism movement, it would appear that only the Neo-Expressionists have had far-reaching success. Georg Baselitz was a leading component, instigating a revival that dominated German art in the 1970s. By the 1980s this resurgence had become part of an international return to the sensuousness of painting, and a broad step away from the stylistically cool, distant sparseness of Minimalism and Conceptualism. All over the world artists began turning towards expressive directions, creating works that affirmed the redemptive power of art in general and painting in particular, drawing upon a variety of themes including the mythological, cultural, historical, nationalist and erotic. A. R. Penck is one of many pseudonyms of Ralph Winkler, a German Neo-Expressionist fine artist and jazz drummer. Penck is best known for his paintings and sculptures characterized by simplified figures and forms, and neo-primitive symbols and patterns. These lend his work a graffiti like quality, as is evidenced in Colosseum, 1990. Living in communist East Berlin, Penck was unable to exhibit his works. This led him to smuggle his works out to West Berlin and Switzerland, where he received enough acclaim to provide him with some protection from the East German authorities, until he was able to escape and settle in London. This background explains why Penck’s style fuses spontaneous self-expression with restraint, and pop culture and art historical influences with political and social concerns. Of the key tenets of Neo-Expressionism was the depiction of subject matter in a brutish manner. The frequently large-scale works, typical of the movement, exhibited highly textural and expressive brushwork and intense colours that had been rejected by the immediately preceding art movements. We see these ideas developed in the following lots by Penck, Jüchser, Morgner, Uhlig, König and Gallasch, all proponents of the Neo-Expressionist movement. Artsy. “A. R. Penck.” Accessed: 17 December 2018. https://www.artsy.net/artist/ar-penck The Art Story. “Neo-Expressionism.” Accessed: 17 December 2018. https://www.theartstory.org/movement-neo-expressionism.htm
Lot 2514
Original vintage travel poster for New Zealand - large scale butter production featuring a photo of a butter churn being operated by a man in a white uniform - giant churns, capable of making over two tons of butter at one churning, enable highly skilled butter makers to provide a large and unfailing supply of the world's finest butter for Britain. Printed in England. Good condition, loss top left margin. Country: UK. Year: 1951. Designer: Unknown. Size (cm): 75.5x50.5
Lot 3400
Original vintage poster map of the main ski trails in the Laurentians mountain range in Quebec Canada featuring colourful advertisements and illustrations on the borders including the Laurentians crown and snow covered tree images on the four corners, a notice to ski carefully by Frontenec Breweries Ltd, hotels, a Royal Typewriter ad, Canadian Pacific Railway and Canadian National Railways, long distance telephone rates, clothing, ski equipment, food and drink ads for Oxo and Salada tea etc., with the map legend and scale below the ski routes, alpine stations, lakes and rivers, hotels, roads and mountains marked in various colours. Good condition, restored folds and minor loss on margins, backed on linen. Country:Canada. Year:1940s. Designer:George Hemsley. Size (cm):70x50.5
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216136 item(s)/page