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Click here to subscribeThree silver plated spirit kettles on associated stands and a quantity of spirit kettle parts.Additional InformationThe three spirit kettles with associated stands are very heavily tarnished and have the silver plate coming through, with surface scratches. The remaining pieces are very much parts only.
Collection of Silver Items, Comprises 1/ George IV Sterling Silver Label for Burgundy. Hallmark London 1823, Maker I.R. 2/ Victorian Period Sterling Silver Spirit Label for Port. Hallmark for Birmingham 1858, Maker George Unite. 3/ Victorian Period Sterling Silver Spirit Label for Sherry. Hallmark Birmingham 1861, Maker George Unite. All Pieces are In Excellent Condition
Kudzanai-Violet Hwami (Zimbabwean, born 1993)Adam and Steve joined by the knee, a study signed, dated and inscribed in pencil verso 'HWAMI / 2016 / Adam and Steve joined by the knee'oil on paper151 x 200cm (59 7/16 x 78 3/4in).Footnotes:ProvenanceAcquired directly from the artist;A private UK collectionA prodigious talent, Hwami has already received more acclaim in her short career than many artists achieve in a lifetime. She was selected to represent Zimbabwe at the Venice Biennale in 2019, aged only 26. Due to complete her masters in fine art at Oxford University's Ruskin School of Art this summer, she has already enjoyed successful solo exhibitions at the Tyburn Gallery and Gasworks in London. At the end of 2020, she was picked up by Victoria Miro, joining an impressive roster.When asked what precipitated her interest in art, Hwami credits her love of cartoons, Manga in particular. As a child, she was constantly sketching her favourite characters. The influence of these animations is evident in the dynamism of her compositions.Hwami's creative process is deliberate and thoughtful. It starts with a collage of images and photographs, around which she constructs a painted narrative. She says that this approach was partly influenced by the creative sharing of images on social media sites such as Tumblr:'I spent a lot of time on the internet as a pre-teen and, in that socially awkward stage of my life, I found it more comfortable to escape and exist in cyberspace. I started exploring sexuality and gender identity. I was obsessed with the idea of physically living in a different body. All my frustration and confusion was expressed through studying the queer body.'This spirit of enquiry and exploration can be seen in this oil, Adam and Steve. Although monumental in size, the work retains a delicate intimacy. The figure on the left looks out at us with an ambiguous expression - challenging, defiant, or aloof? Meanwhile, the figure on his right is completely oblivious to his audience. He has eyes only for his companion.Hwami's work asks the viewer to consider weighty topics - identity, sexuality, desire. But her handling is witty and fresh, as is evidenced by the title. The creeping tendril trailing along the bottom of the painting reaches towards the figure on the left, as if reaching out for its object of desire.Later this year, Hwami will showcase her works at a group exhibition at the Pompidou Centre in Paris. No doubt just one of many exciting developments yet to come for this artist.Bibliography:Amah-Rose Abrams, 'Kudzanai-Violet Hwami's modern pop portraits frame gender, sexuality and race', Wallpaper, accessed 12/02/21.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Anyanwu bears the Burleighfield foundry foundry mark 'B' to basebronze91 x 25cm (35 13/16 x 9 13/16in).golden patination.Footnotes:ProvenanceAcquired directly from the artist in the early 1980s;By direct descent to the current owner.LiteratureS. Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), version illustrated fig.4.3 and fig.4.4.B. Lawal, 'After an imaginary slumber: visual and verbal imagery of 'awakening' in Africa', Word & Image: A Journal of Verbal/Visual Enquiry, (Volume 26 number 4, 2010), version illustrated p.423.O. Offoedu-Okeke, Artists of Nigeria, (Milan, 2012), version illustrated p.57.Anyanwu is one of the artist's most accomplished and recognizable works. The word Anyanwu ('eye of the sun'), refers to the Igbo practice of saluting the rising sun in honour of Chukwu, the Great Spirit. The female figure is the powerful Igbo earth goddess Ani. For Enwonwu, the sculpture was a way of expressing his hopes for a nation on its way towards independence:'My aim was to symbolise our rising nation. I have tried to combine material, crafts, and traditions, to express a conception that is based on womanhood – woman, the mother and nourisher of man. In our rising nation, I see the forces embodied in womanhood; the beginning, and then, the development and flowering into the fullest stature of a nation – a people! This sculpture is spiritual in conception, rhythmical in movement, and three dimensional in its architectural setting – these qualities are characteristic of the sculpture of my ancestors.'Enwonwu's depiction of the goddess, with her elongated body and stylised head, demonstrates his appreciation for Igbo artistic traditions, drawing on ancient wood carvings and Edo Queen Mother portraits. Enwonwu's father was a spiritual man, and had frequently carved images for the shrines at Onitsha. Memories of these shrines left an indelible mark on the young Benedict, and shaped his view that art and religion were inextricably linked. In Igbo tradition, sculptors were viewed as intermediaries between the human and spirit world. They worked in a trance-like state, inspired by intense surges of mental energy.Enwonwu later claimed that he had entered such a state when he created Anyanwu. The sculpture's form came to him in a vision early one morning as he hovered between dreaming and wakefulness:'A supple graceful female form arising out of the sun in a brilliant shower of light...she loomed towards him in a wide curvilinear arch...the classic Ethiopianized features of the face and the decorative horizontal slats of the lower torso that receded into the horizon, tapering off to a point...'The circumstances surrounding Anyanwu's creation – Enwonwu's spiritual inspiration – connects him with the Igbo tradition of the artist as spirit medium. Often referred to as the 'father of African modernism', Enwonwu was greatly concerned with form and stylistic experimentation. However, unlike his European contemporaries, he was not motivated by the principle of 'art for art's sake'. By engaging with the traditions of his ancestors, Enwonwu invests Anywanwu with a more complex social meaning.The first Anyanwu sculpture (1954-5), made for the National Museum, Lagos, received such acclaim that another was commissioned for the United Nations headquarters in New York (1966). This version appears in several major public and private collections, often demonstrating a variety of patina, and small differences in the arms and length of the 'chicken beak' coiffure.The current work was cast at the Burleighfeild foundry, High Wycombe, UK. They cast many bronze scluptures for the artist from their founding in 1977 until his death in 1994.BibliographyN. Nzegwu, 'Representational Axis: A Cultural Realignment of Enwonwu', Contemporary Textures: Multidimensionality in Nigerian Art, ed. N. Nzegwu (New York, 1999) p.163.S. Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), pp.128-131.B. Lawal, 'After an imaginary slumber: visual and verbal imagery of 'awakening' in Africa', Word & Image: A Journal of Verbal/Visual Enquiry, (Volume 26 number 4, 2010), p.422.For further information on this lot please visit Bonhams.com
Neil Armstrong, Buzz Aldrin, or Michael CollinsThe Earth during translunar coast16-24 July 1969Vintage chromogenic print on resin-coated paper, 20.3 x 25.5 cm (8 x 10 in), [NASA photo no AS11-36-5361], with THIS PAPER MANUFACTURED BY KODAK watermarks on the verso (printed mid-1970's), (NASA/North American Rockwell)Footnotes:'The world of the 1970s will be vastly different from the world of the 1960s, and many of the changes in it will result directly from the new perspective that we have suddenly acquired. By heeding the lessons learned in the last decade, and attacking our many problems with the same spirit, determination and skill with which we have ventured into space, we can make 'this island Earth' a better planet on which to live.' NASA administrator George M. Low, October 1970 Condition Report: Very goodCondition Report Disclaimer
Seventeen 1:72 scale Fighter Jet model kits, Model Collect U.S.A.F B-2A Spirit Stealth Bomber, 3xG.W.H F-15 Fighters, 4xMeng Models F-F-102 Fighters, 9xHasegawa kits including F/A-18E/F Super Hornet 2 kit set, F-15 Strike Eagles, A-3B Sky Warrior, AC-130H Hercules, F-11F-1 Tiger and F-106A Delta Dart, all contents in sealed bags, boxes generally very good to excellent, (17 kits).
Two carpenter's tool chests and tools including Marples 6809 square and mitre cutter; hand drills; razor saw, keyhole saws and others; nail puller pliers, hammers, mallets, Stanley no 232-24" spirit level, Rabone spirit level, oil stones; tape measures etc.Provenance: Estate of Thomas Jones, apprentice and partner of Frank Pratt of Derby. Apprenticed to Frank Pratt in Derby until the business moved to Wirksworth after the Derby premises at 43 King Street were lost to make way for the inner ring road in 1967. In 1968 the business moved to The Old Grammar School in Wirksworth where they continued production of reproduction antique furniture opening a new showroom at 67 King Street, Derby. Thomas carried on the business upon Franks retirement in 1973
An unusual South Africa 1877-79 pair awarded to Private John Lloyd, 1/24th Foot, later Sergeant in the Old Wigan Volunteers, who, operating as a despatch rider, was ‘largely instrumental in obtaining assistance on the occasion of the massacre by Zulus of Europeans at Isandhlwana’ South Africa 1877-79, 1 clasp, 1877-8-9 (174. Pte. J. Lloyd. 1-24th Foot.); Volunteer Force Long Service Medal, E.VII.R. (2014 Sjt. J. Lloyd. 1/V.B. Manchester Regt.) suspension slack on the first, edge bruising and contact marks, otherwise nearly very fine (2) £2,000-£3,000 --- John Lloyd enlisted at Cardiff on 7 May 1874, aged 21. On completion of his service he resided at 223 Warrington Road, Lower Ince, Wigan, Lancashire, and was employed as a fireman at a colliery owned by the Pearson & Knowles Coal & Iron Company. He joined the 21st (Wigan) Rifle Volunteers in which he attained the rank of Sergeant; he was made an Honorary Member of the Sergeants’ Mess of the 1st V.B. Manchester Regiment (Wigan Detachment) on 1 January 1906, and also of the Sergeants’ Mess of the 5th Battalion, the Manchester Regiment on 1 January 1925. He died on 26 November 1925, aged 72, and is interred at Wigan Cemetery. ‘Ince Zulu War Veteran’s Death. We regret to record the death, which occurred on Thursday last week, at his home, 223, Warrington-road, Lower Ince, of Sergt. John Lloyd, one of the veterans of the Zulu War, and an old member of the Wigan Volunteers. He was 72 years of age. As a time-serving man in the Regular Army he belonged to the old 24th Welsh Regt., and to the last he was imbued with a keen spirit of Esprit de Corps, being fond of singing, in both the Welsh and English languages (he was a native of the Principality), “All honour to the Old 24th.” He had vivid recollections of the Zulu War, perhaps the chief incident connected with which was that he was on the spot the day following the disastrous massacre of Isandhlwana in 1879; as a despatch rider he rode out to where the massacre had taken place, and finding that the Europeans had suffered heavily he immediately returned, and set going the machinery for sending up military help. On leaving the Regular Army, in which he served as a private, he joined the old 21st Rifle Volunteers in Wigan, and later was a member of the old 1st Batt. Volunteers. He commenced his Volunteer service in the time of the late Sergt.-Major Butters in the early ‘nineties. On leaving the Regular Army he took up employment as as a colliery fireman with Messrs Pearson and Knowles. Mr Lloyd was an honorary member of the 5th Batt. Manchester Regt. Sergeants’ Mess.’ Sold with the following original documents: (i) Large portrait photograph of Lloyd in later life wearing his South Africa medal (ii) Original photographs of other family members (4) and of his grave (2) (iii) Pearson & Knowles Coal & Iron Co. Dayman’s Pay Ticket in the amount of £1-8-10 (iv) Sergeants’ Mess membership cards for 1st V.B. Manchester Regiment and 5th Battn. The Manchester Regiment (v) Two newspaper obituary notices, one as quoted above, the other headed ‘Death of Old Wigan Volunteer’ with similar details.
A Moorcroft 'Spirit of Liberty' pattern large vase, designed by Emma Bossons, tube lined with Art Nouveau style motifs, impressed and painted marks including Bossons' signature to base, no. 137/200, boxed. Height 37cm.Condition report: No condition issues, the box lid has a tear at one corner.
Tray of miscellaneous items to include; two Royal Copenhagen ceramic animal figurines, a Royal Worcester Wood Warbler bird figurine, Italian setter/spaniel figures, a German figure of a girl on fence, a frosted glass elephant, carved wooden bookends of seated figures, carved wooden deer figure, spirit level, wooden vase etc. (B.P. 21% + VAT)
A pair of early 19th century Anglo-Irish spirit flasks with crest engraved silver lids, 7cm wide x 10cm high, two large cut glass fruit bowls, a pair of plain decanters and three further decanters, (1 x lacking stopper)Condition report: One flask has lost the internal stopper and has a crack to the silver cap. One decanter has no stopper. No damages to the glass bowls.
A Jaeger LeCoultre Marina Atmos Clock, Model 'Fond Opal Poisson' (Fish Opal Background), gilt brass case glazed with opaque perspex panels containing gilt angel fish, starfish and water weed, spirit level in inner case, white dial with Arabic and baton numerals signed Jaeger-LeCoultre, Swiss Made beneath 6 o' clock, case 23cm high, in the original Jaeger LeCoultre card box. CONDITION REPORT: This is in good condition that we can see, the perspex is bright and not damaged. The metal case is not tarnished or chipped. The clock pendulum locks and unlocks cleanly and does function causing the clock to run.
A PAIR OF BUSCH OPERA GLASSES, quantity of Henley Regatta memorabilia, two Super Mario Pez dispensers (sealed in original packaging), quantity of novelty key rings, ESSO 1972 F.A. Cup Winners coin collection, complete with all coins but folder damaged/distressed, modern OXO tin and framed 'Pears' style print, a scale model of the Trimaran 'Spirit of Apricot' not checked but appears largely complete, with wooden plinth to mount the model on, length of hulls approximately 76cm, width approximately 59cm, height of mast approximately 97cm, with assembly instructions and a damaged colour poster, all contained in a large wooden carrying case, (approximately 120cm long x 69cm high) and two boxes of books and magazines, books include Martina Cole, Danielle Steel, Dan Brown, Joanna Trollope, autobiographies - Chris Moyles, Robbie Williams, Gordon Ramsay, Shane Richie, etc, Giles Cartoons, Garfield, magazines - Eyewitness Nam, Nam the Vietnam Experience, Combat and Survival (five boxes and boxed model)
Mackinlays, The Enduring Spirit, Rare Old Highland Malt Whisky, 47.3% vol., 70cl, two bottles in replica wooden cases These are a replica of the whisky taken to Antarctica by Sir Ernest Shackleton and his team on the Nimrod expedition of 1907 - 1909 . In 2007 three abandoned crates were discovered buried and frozen in the Antarctic ice - this is a faithful reproduction of that whisky, produced and first released in 2009 by Whyte & Mackay.
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