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Lot 881
GROUP OF WWII MEDALS AWARDED TO HENRY ARTHUR JOWERS, comprising the 1939-1945 Star, the Africa Star, the Italy Star, the War Medal 1939-1945 and the Defence Medal 1939-1945, each on ribbon, with original O.H.M.S. box addressed to Mr H Jowers, along with related ephemera including Jowers' WW2 British Army issue soldiers service and pay book, Record of Service and his driving license, an enamelled RAF badge and a blue enamelled British legion badge bearing central lion motif in relief, also to include a collection of early 20th century photographs including several depicting Jowers, vintage postcards, a silver watch chain with dog clip clasp and T bar, an alligator skin pocket Draughts & Chess set, headed paper with eagle motif and inscribed 'Reichsnahrfland Blut und Boden', and a vintage leather wallet containing a Certificate of Pilgrimage dated 25 August 1942, handwritten correspondence and several wartime bank notes originating from Japan, Syria, Lebanon and Germany
Lot 910
LATE GEORGIAN TORTOISE SHELL SNUFF BOX, the hinged cover inset yellow metal cartouche inscribed WHF, within a border of stars and lappets, opening to reveal a miniature nude, 7.5cm diameter; along with a Georgian tortoiseshell and yellow metal pill box; a later continental pill box inscribe 'L. Hjorth'; a Mexican silver pill box; and a cased gold and amber cheroot (5)
Lot 563
A box of assorted costume jewellery in boxes, cases and loose including quantity of modern silver dress rings, a Vivaldi Chronograph ladies watch ETC (possibly small number of hallmarked items but due to the high number of items in this lot, requests for a detailed account of content and weights will not be responded to)
Lot 1060
APPROXIMATELY SIXTY-SIX GLASS MAGIC LANTERN SLIDES OF TASMANIA INTEREST including portraits of 'Trucannini - Last Tasmanian Abor[iginal] Woman' (x2); 'Patty - Tasmanian Abor[iginal] Woman'; 'King Billy'; 'Relicts of Convict Discipline'; 'First Days of Zeehan - The Main Street'; 'Silver Queen Extended, S.M. Zeehan'; 'Fern Tree Inn - Huon Road'; 'Union Bank, Elizabeth Street, Hobart'; 'Martin Cash' [convict bushranger who twice escaped from Port Arthur, Van Dieman's Land]; 'Convict Life Aboard the Hulks' (x2); 'Liverpool Street, Hobart'; 'The Wharves, Hobart'; 'Hobart from Exhibition Building'; 'Chapel, Model Prison, Port Arthur'; 'Underground Cells - Coal Mines'; 'Franklin Square, Hobart'; 'Strahan from the N.E.'; 'Patterson Street from N. Launceston'; 'Post Office, Hobart'; 'Brisbane Street, Launceston'; 'Mount Wellington from Cascade Road [with tram]; and others, many by Beattie of Hobart, (box).
Lot 946
SEVEN MATCHBOX 1-75 SERIES DIECAST MODEL VEHICLES circa late 1960s - early 1970s, comprising a No.20, Chevrolet Impala Taxi, yellow, black plastic wheels, near mint, boxed, the box good; No.7, Ford Refuse Truck, orange, grey and silver, black plastic wheels, mint, boxed, the box generally good (slightly creased); No.73, Mercury Commuter, metallic green, Superfast wheels, near mint, boxed, the box good; and four others, all with Superfast wheels, each mint or near mint and boxed.
Lot 102
FRANZ BIBUS 1860 - 1941: A CIGAR BOX 1920s-30s Silver, ivory, mahogany 6 x 31,5 x 22 cm Marked on inside lid "FB" and hallmark "Ag 800" A rectangular box with a hammered lid, ivory handle on front. Wooden lining with compartments inside. The traditional Franz Bibus trademark first appeared in 1896. Originally the company produced small gold and silver chains, but it gradually expanded its range to include boxes and later added flatware and tableware. In 1917 the company changed its name to Franz Bibus & Sohn. Producing silver, alpacca, and galvanized objects, the company remained in business until the 1940s, when František Bibus was forced to sell his company. After World War II the government merged all of the local workshops into a single unit, which was then made a part of theSandrik state-owned enterprise.
Lot 113
MIKULÁŠ MEDEK 1926 - 1974: ACTION I (EGG) 1955-1956 Egg tempera and oil on canvas 116 x 93 cm Signed lower right: "I.X.1955 - 10.II.1956 - MEDEK" Painter Mikuláš Medek occupies a leading position in Czech post-war art due to the original expression, profound meaning, and unique spirituality of his work. He also proved his artistic independence and spiritual dimension during the communist regime, which was a harsh adversary of modern art and free thought. In each of his early paintings he addresses new, deep problems that border on questions of life itself, with a style building on pre-war Surrealismthat is assisted by the extremely precise descriptiveness of the objects depicted and the narrativeaccentuating the emotional impact on the viewer, creating an imaginative space and developing the popular medieval concept of the painting-within-a-painting. He builds the composition from several seemingly independent objects connected with differing actions that he occasionally undertook with his wife, Emila Medková, and reflected the artist's physical states and psychoanalytical thoughts. His characters are set in empty, tight spaces delineated by orthogonal and transversal lines; his own style of Mannerist, puppet-like figures are executed with exact outlines. In Medek’s work, the deformation of the original concrete model is attached to feelings of feverish hallucinations, with elongated hands, expanded heads and hair stylized into flat barbs. Medek believed blue and red were the only absolute colors: “Colors are perfect when they are made out of metal – blue out of iron and silver, red out of gold.”In 1955 he started to paint his Action series from a larger series of paintings titled Naked in Thorns, which Ludmila Vachtová described the following year in an article in Tvar magazine; her text represents the first information published about Medek’s work: “Now he is concerned with expressing the conflict that arose by placing today’s man in the world, with creating a sort of modern mythology that has been constrained at times and is now permeating into symbolism, but is impressive for its sense of urgency. This symbolism is not the pretext, but the result of a new view of the most commonplace actions that are the most mechanized in our lives, ones that have become stereotyped. Because the painter has discovered conflict within them, they have the strength to become mythologies. His view can be interpreted as narrow and one-sided, but you cannot deny its right to exist. If we say humankind, world and life, we cannot exclude from this group the anxiety of mankind, anxiety from the things, situations and relationships that surround him and often bury him.”A painter, illustrator and writer born to a well-known intellectual and artistic family (grandson of the painter Antonín Slavíček, son of writer and General Rudolf Medek, and brother of Ivan Medek), Mikuláš Medek attended the State School of Graphic Design, attended Vlastimil Rada's studio and the Academy of Fine Arts in Prague, and was a student of František Tichý and František Muzika at the Academy of Arts, Architecture and Design in Prague. He was expelled in 1949. He participated in activities held by the Surrealists (Teige, Effenberger, Fára, Istler, Tikal) and took part in compiling art anthologies, but he was not allowed to work as a professional artist. Initially influenced by the Surrealists, he later became a leading figure of Czechoslovak Art Informel and non-figurative painting. He has created a number of installations for chapels in South Moravia (Jedovnice, Senetářov, Kotvrdovice) and the international offices of Czechoslovak Airlines (including Paris, New York, Damascus, Prague–Ruzynì)and his paintings are represented in public and private collections around the world. His work significantly overlaps with the photography work of his wife, Emila Medková. The contextual cogency, the magical power of his painterly style, and the spiritual energy emanating from Medek’s oeuvre, as well as its message to younger generations, make Medek one of the most important and most original artists not only on the Czech scene, but in the entire painting world of the mid-20th century. Medek’s work is represented in a number of Czech and international public institutions as well as in private collections.The last exhibition of the artist’s work was held at the Rudolfinum and the Auditorium of the Academy of Fine Arts in Prague; the National Gallery in Prague is preparing a large Medek exhibition scheduled for next year.Drawing for the painting: Action I Egg, 1955, charcoal, packing paper, 1140 x 780 mm, Olomouc, Museum of Art, inv. no.: Km14636.Exhibited at: I. Exhibition of Contemporary Czech Visual Artists, Prague, Charles University Faculty of Arts 1958, cat. no. 23| Mikuláš Medek: Obrazy 1947–1965 (Paintings 1947–1965), Prague, New Hall Gallery 1965, cat. no. 5| listed in the exhibition catalogue Mikuláš Medek, Hradec Králové Regional Gallery 1969, cat. no. 23, not exhibited | Mikuláš Medek: Souborné malířské dílo (Collected Oeuvre), Brno, Brna House of Arts – Prague City Library 1990, not listed in the catalogue, exhibited in Prague.Reproduced in: Tvar, vol. 8, no. 9, 1956, p. 281, fig. 775| Svobodné slovo, 22 March 1958| Výtvarná práce, vol. 13, no. 8, 17. May 1965, p. 5| Mikuláš Medek: Obrazy 1947–1965 (Paintings 1947–1965), Union of Czechoslovak Visual Artists 1965, cat. no. 5| Mikuláš Medek, Hradec Králové Regional Gallery and Art Centrum Prague 1969, cat. no. 23| Bohumír Mráz: Mikuláš Medek, Obelisk, Prague 1970, fig. 28, reproduced in color | Mikuláš Medek: Souborné malířské dílo (Collected Oeuvre), Brno, Brna House of Arts 1990, reproduced b&w| BOX, no. 3, January 1993, back cover, mirror inverse on front cover | Mikuláš Medek: Texty, Torst 1995, p. 280, reproduced b&w | Umění, vol. 45, no. 5, 1997, p. 489–500| Mikuláš Medek, Gema Art, Prague 2002, p. 43| Analogon, no. 38–39, 2003, p. 25.
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