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Lot 13
Stephen Kenny You Complete Me, 2020 Letterpress on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My paintings most often focus on the human figure paired with elements found in nature. These surreal, symbolic juxtapositions are intended to work on at least two levels. The first alludes to the fact that we are an integral part of the natural world and subject to its laws. This seems like an obvious statement until we step back and objectively assess our symbiotic relationship with each other and the Earth. Depending on your perspective, these relationships fall somewhere on the scale between harmonious and dysfunctional. The second turns the lens around to look inward upon the stewardship of our own emotional, intellectual and psychological landscapes. The same pictorial subject matter allows me to make references to our individual journeys of self-exploration and discovery. Again, depending on who is holding the compass, we are either lost or on the right path. At the very least, I desire to create images of beauty and mystery that allow the viewer to find their own personal significance in them.
Lot 14
Stephen Kenny You Complete Me, 2020 Letterpress on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My paintings most often focus on the human figure paired with elements found in nature. These surreal, symbolic juxtapositions are intended to work on at least two levels. The first alludes to the fact that we are an integral part of the natural world and subject to its laws. This seems like an obvious statement until we step back and objectively assess our symbiotic relationship with each other and the Earth. Depending on your perspective, these relationships fall somewhere on the scale between harmonious and dysfunctional. The second turns the lens around to look inward upon the stewardship of our own emotional, intellectual and psychological landscapes. The same pictorial subject matter allows me to make references to our individual journeys of self-exploration and discovery. Again, depending on who is holding the compass, we are either lost or on the right path. At the very least, I desire to create images of beauty and mystery that allow the viewer to find their own personal significance in them.
Lot 15
Stephen Kenny You Complete Me, 2020 Letterpress on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My paintings most often focus on the human figure paired with elements found in nature. These surreal, symbolic juxtapositions are intended to work on at least two levels. The first alludes to the fact that we are an integral part of the natural world and subject to its laws. This seems like an obvious statement until we step back and objectively assess our symbiotic relationship with each other and the Earth. Depending on your perspective, these relationships fall somewhere on the scale between harmonious and dysfunctional. The second turns the lens around to look inward upon the stewardship of our own emotional, intellectual and psychological landscapes. The same pictorial subject matter allows me to make references to our individual journeys of self-exploration and discovery. Again, depending on who is holding the compass, we are either lost or on the right path. At the very least, I desire to create images of beauty and mystery that allow the viewer to find their own personal significance in them.
Lot 16
Stephen Kenny You Complete Me, 2020 Letterpress on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My paintings most often focus on the human figure paired with elements found in nature. These surreal, symbolic juxtapositions are intended to work on at least two levels. The first alludes to the fact that we are an integral part of the natural world and subject to its laws. This seems like an obvious statement until we step back and objectively assess our symbiotic relationship with each other and the Earth. Depending on your perspective, these relationships fall somewhere on the scale between harmonious and dysfunctional. The second turns the lens around to look inward upon the stewardship of our own emotional, intellectual and psychological landscapes. The same pictorial subject matter allows me to make references to our individual journeys of self-exploration and discovery. Again, depending on who is holding the compass, we are either lost or on the right path. At the very least, I desire to create images of beauty and mystery that allow the viewer to find their own personal significance in them.
![[Wayside & Woodland series] The Birds of The British Isles & Their Eggs, Migration & Habits 3 volumes 1932-4 by T](https://cdn.globalauctionplatform.com/1293449b-58d3-49c6-ba4e-ab6d0118aecb/00b331ee-dab6-4381-ad06-ab84011c9ed8/468x382.jpg)
Lot 188
[Wayside & Woodland series] The Birds of The British Isles & Their Eggs, Migration & Habits 3 volumes 1932-4 by T.W. Coward with over 500 illustrations (many coloured) gilt cloth in dust-wrappers, Guide to British Wild Flowers by Edward Step first, second & third series 1929-30 illustrated in gilt cloth and dust-wrappers, with Butterflies of the British Isles in gilt cloth (7)
Lot 245
An amethyst and diamond oval cluster ring,with an oval step cut amethyst, claw set to the centre. A border of eight cut diamonds, all claw set in white to a yellow underbezel, chenier shoulders and a plain shank. Marked 18ct PLAT. Head 19.30 x 6.30mm, 6.94g. Case by 'Parkhouse & Wyatt, Southampton'.Finger size N
Lot 254
A platinum aquamarine and diamond ring,a circular mixed cut aquamarine, eight claw set to a pierced collet, with a trapezoid step cut diamond rub set to each open shoulder, with a plain shank. Marked PLAT. 13.50 x 8.80mm, 4.73g.Finger size TCondition report: Diamonds 4.45 - 2.85 x 2.50 x 2.81mmDiamonds G/HAquamarine 8.02 x 8.00 x 5.42mm approximately.No damage to the aquamarine.Claws nice and deep.Light marks to the mount only.
Lot 323
Five assorted unmounted gemstones,to include a rectangular step cut blue spinel of 5.13ct, a scissor cut rhodolite garnet of 9.72ct, an oval mixed cut hot pink sapphire of 1.70ct, a cushion cut pale pink sapphire of 3.11ct, and a cushion cut peach-pink sapphire of 1.19ct. All weights approximate (5)Condition report: Spinel 5.13ct, 11.10 x 8.71 x 5.14mmGarnet 9.72ct, 13.99 x 10.40 x 6.99mmx3 sapphire:Pale pink cushion 9.0 x 6.89 x 4.98mmHot pink 7.48 x 6.36 x 4.01mmPeach 6.99 x 4.60 x 3.54mm
Lot 8
A gold garnet set graduated rivière necklace, possibly c.1880, with a series of graduated octagonal step cut garnets, each one crimp set in a shallow collet with a twisted wire border. Each collet with a hollow bead at each side, joined by jump rings to a chased barrel clasp. Tested as approximately 9ct gold. 360mm long, 16.80g. A later case by Cameo Corner Ltd.Condition report: The clasp, although period may not be original to this necklace. The jump rings at each end are later replacements.Areas of green tarnish.8.38 x 7.40 x 3.49mm approximately.Minor marks to the garnets under 10x magnification - nothing to the naked eye.Settings crisp for the age.
Lot 460
A 19th Century mahogany step commode, with original porcelain liner, raised on carved cabriole front supports, together with a painted Regency sabre legged, scroll arm carver chair with rope twist back rails and central panel decorated with cherubs, plus a contemporary four drawer mahogany chest of drawers of small proportion (3)
Lot 156
A single stone aquamarine ring with diamond set shoulders,with a rectangular step cut aquamarine, four claw set in a landscape position at the corners. A yellow open head with a brilliant cut diamond, four claw set to a white collet to split yellow shoulders with a central white bar. Marked 750, tested as approximately 18ct gold. 4.68g.Finger size L¾
Lot 105
Chris Calle (American, B. 1961) "Space Exploration" Signed lower right. Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Fleetwood Mint Stamps of the World Collectors Panel for Space Exploration produced in 1991. "The Eagle has landed." On July 20, 1969, those electrifying words traveled neary a quarter of a million miles via airwaves from the Moon's surface back to Earth. About six and a half hours later the hatch on the lunar module opened, and Neil Armstrong slowly backed out of the vehicle onto the craft's ladder. As he made his descent, the words "Live from the moon" flashed across television screens around the world, documenting man's first step on the lunar surface. The TV camera recorded the astronaut's movements against the Moon's dark shadows and blinding sunlight, and his ghostly image was broadcast some 240,000 miles back to Earth. Although the picture was fuzzy and scored with lines, this telecast undoubtedly was one of the most memorable events ever broadcast. Just 19 minutes later, Edwin Aldrin became the second man to set foot on the Moon. While treading on that unfamiliar terrain, he made the following observation: "You do have to be rather careful to keep track of where your center of mass is. Sometimes it takes about two or three paces to make sure that you've got your feet underneath you." Both Armstrong and Aldrin devoted most of their time outside the lunar module to setting up scientific instruments and taking samples of lunar material. By the end of their exploration, they had gathered about 50 pounds of rock and soil which were loaded into the space vehicle by using a rope and pully hoist. Soon after they were back in the Eagle , resting up for the long journey home. Image Size: 22.75 x 17.75 in. Overall Size: 30 x 21.75 in. Unframed. (B13350)
Lot 1031
1973 Honda SS50, 49cc. Registration number UXF 95M (not recorded with DVLA, see text). Frame number SS50Z 216993. Engine number TBC.The first sports derivative of Honda's classic C100 Super Cub 'step-thru', the C110 Sports Cub, appeared in October 1960. This was a proper small motorcycle, with spine frame and a more powerful version of the C100 motor. Larger-capacity models soon followed and in 1964 an overhead-camshaft version of the engine was introduced on the CS90 sports, with 50cc and 65cc derivatives arriving in 1965. An even more sporting tiddler - the SS50 - arrived for 1967 equipped with a more powerful version of the OHC engine producing 6.0bhp at 11,000rpm and coupled to a five-speed gearbox. During the mid-1970s the model was offered on the UK market in 'Sixteener Special' guise equipped with four-speed gearbox and pedals, thereby qualifying as a moped, and continued in production to the end of 1977.UFX was purchased in 1973 at the height of the fuel crisis as a cheap way to get to work, when fuel prices came down is was laid up in August 1975 with 2,522 miles on the clock. It remained in his home, always with the intention of getting in on the road. Several years ago his son bought him a replacement tank as the original had rotted through and when he passed on it became his sons. He was not interested in it so passed it on to our vendor.In running order, although the fuel tap leaks, this is a very original machine (apart from the tank) that now awaits its next custodian.There is no paperwork with this lot apart from the old tax disc.
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26534 item(s)/page