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Lot 3215
Large quantity of good quality doll's house accessories including ceramics and glassware, metal ware and hardware, pots and pans, mantel clocks, food and drink, books, stick stand with walking sticks, companion set and fire-guard, framed pictures and mirrors, croquet set, rocking horses, nursery dolls house, pets, toys etcCondition Report:Most looks to be in good condition.
Lot 92
ADAM HANDLER,FOLK GHOST,Oil stick and acrylic on canvas, signed, titled and dated verso,33cm x 33cm,OriginalChildlike simplicity, quirky, colorful, primitive––these are just a few words to describe the extraordinary talent of New York-born painter Adam Handler. His recognizable characters such as bats, ghosts, and wide-eyed girls embody innocence and adolescent energy that the very best of artists will tell you is close to impossible to render with fresh authenticity. Using acrylic paint, oil stick, pencil, and markers, Handler’s child-like and passionate drawing technique produces distinctive outlined characters which almost appear flat, with little to no depth of field. Handler studied Life Drawing in Italy and later graduated from Purchase College with a degree in Art History. Handler’s work has been exhibited internationally, namely throughout the United States, Europe, Asia, Africa, and the Middle East.
Lot 1412
A MIXED GROUP OF SILVER, 20TH CENTURY comprising a miniature trophy cup, by Jay, Richard Attenborough Co Ltd, Chester 1935, with angular twin handles, on a black plastic plinth, 10.5cm across handles; a St John Ambulance Association fob, by Vaughton & Sons, Birmingham 1911, engraved '148530 ARTHUR J. CHADWICK' to reverse, with associated chain, 3.9cm wide; a silver-handled cane (lacking lower section of stick), maker's mark W&D?, London 1916, with raised thumb ridge, engraved with delicate scrolling foliage; and an Italian silver photograph frame, by Livi Giancarlo, Florence, import marks, AB, London 1982, oval, with composite easel back, 6.7cm high. (4) Weighable silver (cup and fob) 3.1 troy ounces gross
Lot 1122
A Pair of Gilt Metal Mounted Alabaster Table Lamps, decorated with putto and swags, 43cm high, together with a pair of cast metal candle stick form table lamps, 44cm high (4)Gilt Metal-Mounted Examples - with numerous flea bite chips to the square plinths. We would always advise re-wiring any electricals purchased at auction. The candlestick form examples will certainly need re-wiring. Estimate - £80-120.
Lot 1179
An Aesthetic Period Eight Division Stick Stand, containing a quantity of walking sticks, shooting sticks and fishing rods; together with an oversized painted pine trunk containing a small quantity of leather and other luggage cases; together with a small group of flags, including the Union Jack and the New Zealand National flag
Lot 143
A large Victorian cast iron stick stand with pierced scrolling fruit decorated arched back, mahogany faced aperture and lower divisions, with turned uprights above a rounded rectangular base, now painted green, height 102cm, width 65.5cm.Footnote: Victorian lozenge mark and Registration Numbers to back, obscured by paint.Provenance: The contents of a Cheshire Country House.Additional InformationThe mahogany sections will be later additions, but overall presented in good condition.
Lot 152
A George III mahogany stick barometer, the scale signed 'A. E. Abraham, Optician, Exeter', with visible mercury tube above the cistern cover, length 96cm.Provenance: The contents of a Cheshire Country House.Additional InformationThere are two small inset patches to the frame, these are possibly where hinges would have been, indicating a cover over the scale. Otherwise, retains a good colour and in good condition.
Lot 54
"A. R. PENCK"; RALF WINKLER (Dresden, Germany; 1939- Switzerland, 2017)."Olympia".Mixed media on paper.Signed in the lower left corner.A. R. Penck originally created this work to form part of one of the 10 advertising posters painted by artists representing the Barcelona brand during the 1992 Olympics. However, it was censored by the Barcelona 92 Olympic Organising Committee, which considered it inappropriate due to its high degree of eroticism. It is therefore an unpublished work that represents a small part of the cultural legacy that the Olympics gave us.Size: 70 x 50 cm; 85 x 65 cm (frame).The controversy aroused by the work that we now present to the Barcelona 92 Olympic Organising Committee was due to its highly erotic nature. The fact that Penck depicted a young lady like Olympia, with her breasts exposed (multiplied by 5, each corresponding to an Olympic ring) or with two naked pubes, was reason enough to censure the work as inappropriate. It was not the first time that an Olympia had aroused controversy in art: when Édouard Manet presented his work of the same name at the Paris Salon in 1865, it was branded pornographic owing to its high degree of eroticism, causing a great stir among the critics of the time. It is striking how, despite the time difference of almost 130 years between the two works, history is repeating itself.Ralf Winkler, who also used the pseudonyms Mike Hammer, T.M., Mickey Spilane, Theodor Marx, "a. Y." or simply "Y" was a German painter, printmaker, sculptor and jazz drummer. Penck was born in Dresden, during his teenage years he began attending painting and drawing classes with Jürgen Böttcher, known by the pseudonym Strawalde, and joined him to form the renegade artists' group Erste Phalanx Nedserd, notable for its members' refusal to study at an academy. Members of the group were also denied acceptance into the GDR Association of Visual Artists. They therefore had to earn their living as labourers or craftsmen. Later he worked for a year as a trainee draughtsman at the state advertising agency in Dresden. From 1955 to 1956, Winkler was a draughtsman at the advertising agency DEWAG and from 1956, he tried to enter the Academy of Fine Arts in Dresden and the Berlin University of the Arts in East Berlin, but it was not until 1966, when Winkler became a candidate to join the Association of Fine Artists, now under the artistic pseudonym A. R. Penck. Which was elected after the geologist Albrecht Penck. From 1969 onwards he had more and more problems with the GDR Ministry of State Security. His paintings were confiscated and his acceptance into the GDR Association of Visual Artists (VBK) was refused.Winkler was one of the founding members, in May 1971, together with Steffen Terk, Wolfgang Opitz and Harald Gallasch, of the artists' group GAP, which existed until 1976. From 1973 he worked under the pseudonyms Mike Hammer and TM. After serving in the military in 1974, he was awarded the Will Grohmann Prize in 1975 by the West Berlin Academy of Arts. In 1976, Penck met the West German painter Jörg Immendorff, with whom he would collaborate in the following years. In their work they campaigned for the abolition of the German internal border, and for dissidents, among them Rudolf Bahro and Robert Havemann. From 1976, he also signed simply Y. In 1977, some of his paintings were confiscated. In May 1979, several of his works and records were destroyed during a burglary at his studio. On 3 August 1980, he was transferred to West Germany. After emigrating, Penck became one of the leading exponents of the new figuration, along with Jörg Immendorff, Georg Baselitz and Markus Lüpertz. Their work was shown in major museums and galleries in the West throughout the 1980s. They were included in several important shows, such as the famous Zeitgeist exhibition at the famous Martin Gropius Bau Museum and the important New Art exhibition at the Tate in 1983. He first lived in Kerpen, southwest of Cologne. In 1981, the Goethe Foundation awarded him the Rembrandt Prize in Basel, Switzerland. In 1983, Winkler moved to London and received the Aachen Art Prize in 1985. In 1988 he took part in the exhibition Made in Cologne, in the same year he was appointed professor of painting at the Düsseldorf Academy of Arts.His paintings depict worlds and spaces of experience, full of symbolic abbreviations. He used stick figures and graphic icons reminiscent of cave paintings, Asian calligraphy and graffiti art. In the 1960s and 1970s, he created a series of paintings and sculptures, which he called Standarts, a combination of "standard" and "art", echoing the German word for banner or flag, Standarte, by which he meant an art form that used simple, archaic pictorial symbols, such as road signs or trademarks. In the 1980s.
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