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Click here to subscribeHARDSTONE SET BROOCH, Victorian and set with a cabochon black and white banded stone within a black enamelled border, along with a matching stick pin, both unmarked, along with an early 19th century hairwork mourning brooch, the hairwork section within an ornate foliate motif border, unmarked, 15.3g gross (3)
Keith Haring (American, 1958-1990)Dog 1986 signed, dated 86 and numbered 8/10 on a label affixed to the reverseenamel and silkscreen on plywood128 by 96 by 4 cm.50 3/8 by 37 13/16 by 1 9/16 in.This work is number 8 from an overall edition of 35, consisting of 15 white on black, 10 black on yellow, 10 red on black, 7 artist's proofs and 3 unique colour variant trial proofs.Footnotes:ProvenanceEdition Schellmann, Munich - New YorkPrivate Collection, SwitzerlandLiteratureJörg Schellmann, Edition Schellmann 1969-1989, Munich 1989, p. 137, another example illustrated in colourJörg Schellmann, Forty Are Better Than One, Munich 2009, p. 143, another example illustrated in colourDog, from 1986 is a quintessential and powerful work by Keith Haring. A pioneer of the Contemporary Art world, Keith Haring's work would go on to redefine art as we know it. Working alongside artworld giants such as Andy Warhol and Jean-Michel Basquiat, Haring sought to break down the barriers between high and low culture, creating a whole new vocabulary of symbols, one that would become synonymous with the visual culture of the latter half of the twentieth century. Executed in 1986, Dog is boldly demonstrative of the artist's unique vocabulary and more specifically his most recognisable motif, the barking dog.Addressing highly controversial and taboo subjects, Haring didn't shy away from uncomfortable truths surrounding social injustice, AIDS, the drug crisis and racism, which he depicted using his unique iconography. Embedded in the fast and decadent culture of 1980s New York, Haring's work mimicked the city's own convergence of high and low culture, bringing together the creative principles of graffiti, semiotics and the art historical canon. By elevating primitive stick figures and cartoon characters to the same level as high art, Haring sought to democratise art, championing the individual and standing up for the oppressed. Based on a keen awareness of how pictures can serve a similar function to words, Haring was impressed early on by the hieroglyphic writings of the ancient Egyptians. In the present work, the plywood has been cut to the shape of a dog, reminiscent of the Egyptian deity, Anubis. Half-human, half-jackal, Anubis, god of the underworld, would lead your soul to the afterlife. Describing his work, Haring stated 'I was thinking about these images as symbols, as a vocabulary of things. In one a dog's being worshiped by these people. In another one the dog is being zapped by a flying saucer. Suddenly it made sense to draw on the street, because I had something to say. I made this person crawling on all fours, which evolved into the 'baby.' And there was an animal being, which now has evolved into the dog. They really were representational of human and animal. In different combinations they were the difference between human power and the power of animal instinct' (the artist in an interview with David Sheff, 'Keith Haring: Just Say Know', www.rollingstone.com, 10 August 1989).The barking dog is one of Haring's trademark picture-words, with Anubis standing in for its most macabre iteration: death. Visually assertive, the bright yellow paint used in conjunction with the shine of the black silkscreen ink in the present work acts as a warning sign, while the X-branded men, television sets and transgressive images of men and dogs emphasise the animal instinct in each of us. The dizzying frenzy of the work's interior filled with dozens of Haring's picture-words, create a fluid sentence moving through the crawling baby in the lower left foot – the emblem of a positive future – through to anthropomorphic dogs dancing on top of men – playing into Egyptian conceptions of life and death as well as Christian notions of the 'dance of the dead'. Scattered throughout are human targets branded by the letter X, including one involved in explicit liaisons with a dog in the foot of the right leg and another at the very top, the winged man or angel – symbol of death but also of the battle of good against evil – rides a dog, the X sealing their fates. These symbols would have deeply resonated with those living through the AIDS epidemic sweeping through New York City. As a gay man, Haring's life and work were entrenched in this community, becoming a huge advocate for AIDS activism. In 1989 following his own fateful diagnosis he would go on to found the Keith Haring Foundation which would provide funding for AIDS organisations and children's programmes. Keith haring died in New York City on 16 February 1990 at the age of 31.During his short ten-year career, Haring managed to produce some of the most iconic and universally recognisable images of the late twentieth century, producing work that would go onto influence a generation of artists. Through the work of the Keith Haring foundation, Haring's work has been recognised across major galleries and institutions worldwide and can be found in the collections of the Whitney Museum of Art, Washington, LACMA, Art institute of Chicago, the Ludwig Museum, Cologne and the Stedlijk Museum, Amsterdam including a recent major retrospective at the Tate Liverpool, currently on view at the BOZAR in Brussels.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Shara Hughes (B. 1981)Rock Garden 2009 signed and dated 2009; signed, titled and dated 2009 on the reverseoil, acrylic, oil stick, pastel, watercolour, felt-tip pen, graphite and collage on paper49.5 by 63.5 cm. 19 1/2 by 25 in. Footnotes:ProvenanceMuseum 52, LondonAcquired directly from the above by the present owner in 2009For further information on this lot please visit Bonhams.com
19th/early 20th Century cast walking stick or cane handle modelled as the head of a dog of Boxer type with green cabochon eyes and studded collar, with allover bronzed patina, 7cm high Condition: Some rubbing to high points (eg edges of ears and muzzle, cheeks etc), otherwise sound - **General condition consistent with age
Early 20th Century ebonised sword stick, the silver-plated terminal with insignia of the Suffolk Regiment, VII Division, enclosing a 50cm blade of square tapering form within the turned ebonised shaft to a brass ferrule, 88.5cm long Condition: Some wear to high points of silver plating, particularly around base of terminal. Minor bruises but insignia still crisp and legible. Action to remove sword is a little stiff, otherwise sound. **General condition consistent with age
Victorian 18ct gold-mounted Malacca walking stick, the bulbous terminal with repousse scroll decoration, centrally engraved with monogram dated 1881 and presentation inscription dated 1893, London, 1880, sponsor JT, to a Malacca shaft applied with a pair of quatrefoil gold mounts for carrying strap, 90.5cm long overall Condition: Central monogram to handle has an impact bruise covering most of engraved cypher. Extensive vertical cracking to Malacca shaft which cuts through one of the quatrefoil mounts to approx 35cm in length. Ferrule is missing. **General condition consistent with age
Late 19th/early 20th Century Colonial-style white metal-mounted sword stick, with collar engraved to 'Harry Roberts', the curved bamboo handle to a studded 'mace' terminal with metal mounts, the bamboo shaft enclosing a 68cm blade of tapered square section with fullered side channels, to a brass ferrule, 82cm long overall Condition: Three metal studs missing to terminal, otherwise sound. **General condition consistent with age
Good Victorian cast iron stick or umbrella stand, the rectangular frame with three rows of eight divisions between carry handles, the sides with Gothic-style ogee arch decoration, on a stepped inverted breakfront base with two removable drip-trays, 95cm across handles x 34cm x 39cm high Condition: Has probably been cleaned some years ago. Otherwise appears sound. Please see extra images and TELEPHONE department if you require further information.
A collection of 19th century carved ivory, to include an Oriental group of a warrior on horseback and another warrior under the horse, signed, height 3.75ins, a netsuke formed as an old man with walking stick, an oval covered pot decorated with elephants, a cockerel, a tooth pick box and a flower bud
Gilbert & Gilkerson, Tower Hill, London, stick barometer with signed silvered dial, vernier mahogany case, swan-neck pediment above glazed lockable door, turned cistern cover with finger adjustments, height 100cm (39").Condition report: Mercury requiring re-filling or calibrating, good figuring to mahogany, silver dial in fair to good order.
HANAPER OFFICE – THE DUKE OF CHANDOS AND CORONATION OF GEORGE IIAbstract of accounts and record of warrants issued during the years 1728 to 1733, comprising Lord Chancellor King's allowances, warrants signed by him for the Hanaper Office, Clerk of the Crowns and of Parliament warrants, Usher of the Rolls warrants, Messenger warrants, warrants for parchment, 'The Embroiders Warrant for a New Purse for the Right Honorable the Lord Chancellor', stationers' warrants for the House of Peers, stationers' warrants for almanacs supplied to the Privy Council, allowance craved from the Senior Clerk of the Petty Bag for making out writs for the new parliament, Pronotary's arrant for money owning to Matthew Snow 'for his Expences & Pains in Writing, Inrolling & Expediting' nearly sixty specified treaties and the like with foreign powers, Lord Chancellor's warrant in settlement of the account submitted by Jacob Tonson (£287-7s 'to be paid unto Jacob Tonson Stationer for paper Books papers penns Ink & diverse other Necessaries'), with Tonson's itemised account (opening: 'To the Right Honorable Peter Lord King Baron of Ockham Lord High Chancellor of Great Brittain Goods deliverd for the Use of the Great Seal by Jacob Tonson from the 1st of June 1731 to the 1st of June 1732/ One Quart of Shining Ink & Bottle, One Hundred Superfine Dutch penns, One Penknife with a folding Stick Handle, One Box large Wafers...'), further itemised accounts submitted by the stationers Henry Weston, Thomas Woodford, Vigerus Edwards, Thomas Martin, Samuel Hetherington, Henry Bendish, the Rev Dr Henry Gally, Walter Edwards, William Freeman, John Hickes, Francis Jephson, William Shaw, Benjamin Whiten, J. Goodwin and William Cook, Usher of the Halls' warrant for cleaner's the lord Chancellor's house (including £8-2s to the 'Herbe Woman' and 2/10½d 'For Mending two Lanthornes'), riding warrants for sundry messengers, warrants for the chafe wax and for the sealer of the Great Seal, and for the sweeper of Westminster Hall, etc.; with contents list and indices, 116 numbered pages, on paper bearing a fleur-de-lis watermark, ruled in red throughout, gilt edges, contemporary black morocco, tooled in gilt, red morocco label on upper cover stamped in gilt 'Hanaper', some usual dust-staining, etc., folio, Hanaper Office, 1727-1734 [compiled c.1734/5]Footnotes:'FOR INGROSSING THE DECLARATION & THE KING'S CORONATION OATH... FOR HIS MAJESTY TO SIGN' – ACCOUNTS KEPT FOR HANDEL'S PATRON, WILLIAM BRYDGES, DUKE OF CHANDOS, in his capacity as Clerk of the Hanaper (he is named on p.39 under a warrant of 14 June 1733: 'His Grace the Duke of Chandos Clerk or Keeper of His Majesty's Hanaper in Chancery Craves the Usual Allowance of Parchment'). Chandos had bought the reversion of the office in 1715 for his life and those of his two sons, the grant maturing on 30 July 1728. His Deputy is named, in a claim for stationery made at Michaelmas 1732, as Thomas More.The Hanaper Officer (the word deriving from the wicker hamper in which writs and the like were originally stored) was the department, under the Clerk of the Hanaper, of the Chancery into which were paid fees for the sealing of charters, patents, etc., and which was responsible for issuing certain writs under the Great Seal; the office of Clerk being abolished in 1832. The records of the Hanaper from 1752 to 1830 are held by the National Archives, Kew; while Chandos's own papers migrated to Stowe and are now held at the Huntington Library, San Marino, California.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Football sticker albums, 12 unused sticker albums, Panini Football 1991, Football League 95, Players 96, England European Football Championship 1996, Football League 96, South Africa World Cup 2010, Euro 2012 & Russia World Cup 2018, Topps Premier League 2010, 2012, 2013 and also Fun to Stick activity album (vg)
Of equestrian interest, A late Victorian Gentleman's walking stick / horse measuring stick, the removable horn handle exposing a metal-mounted boxwood rule with a hinged steel level, (glass level missing and metal twisted) 'T Brigg & Sons London', housed in bamboo cane with silver collar, London, 1894, maker's mark of George William Vose, overall length 95cm
A silver-topped walking stick, with spiral fluted knop, 'Brigg' London, 1893, maker's mark of Thomas Johnson II, with bamboo style shaft and metal tip, together with another silver-topped walking cane, Birmingham, 1898, maker's mark of Mitchell Bosley & Co and two further various silver topped walking sticks (4)
ENAMELLED CUP AND SAUCER QIANLONG PERIOD 乾隆 西洋畫粉彩茶盞托 in amber tones after the Derby style, the interior of the cup and the centre of the saucer painted with a countryside scene including houses in fields, the exterior of the cup and the inner band of the saucer adorned with scenes of English life, including a courting couple seated on a bench, men walking with a stick and dogs, a lady flying a kite (Dimensions: cup: 4.5cm high; saucer: 14.2cm diameter) (Qty: 2)(cup: 4.5cm high; saucer: 14.2cm diameter)
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