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Lot 103
A late Victorian rose gold, enamel and half-pearl bar brooch and a flower-head cluster stick pin. The bar brooch with a central half-pearl within a navy-blue enamel surround on a square section bar stamped '9ct', 41.5mm long overall, 3.9g gross; the petal-shaped stick pin terminal centred with a round mixed-cut garnet within imitation-pearls, on a gold pin, unmarked, 0.8g gross
Lot 121
Two late Victorian/Edwardian gold and gem set stick pins. One with a bar and knot terminal set with a small round cabochon white opal, the head stamped '15ct', on a gilded pin; the other a gold crescent set with half-pearls and a small blue garnet-topped-doublet, base-metal pin; together with a brown-leather box Condition Report: The diamonds each measure approx. 2.3mm diameter and are bright and white and eye clean about VS2-SI1 overall, and colour G/H.
Lot 170
A collection of Victorian and later jewellery including an early Victorian gilt metal and round cabochon red-paste mourning stick pin. The cabochon imitating garnet, rub-over set within an engraved shaped border and with a glazed woven-hair back panel, in a fitted and shaped leather covered case; an imitation pearl single row long necklace; a pair of oval purple-paste imitating amethyst pendent earrings; and a Continental white metal two-row woven bracelet stamped '830', 10g
Lot 54
A collection of period costume jewellery and other items including a pale-blue enamelled oval locket with a central half-pearl star motif, approx. 49mm high overall; a 19th century turquoise andf half-pearl small heart-shaped locket-back pendant; a bag shaped locket, two oval lockets; a paste shoe buckle adapted as a brooch; an oval agate brooch and a stick pin
Lot 56
A small group of aquamarine jewellery including an aquamarine and small diamond three stone ring. Centred with a round mixed-cut aquamarine between small eight-cut diamonds, on a disc-shaped gallery to a D-section shank stamped '0.03'(diamond weight) and '375', size O+, 1.4g gross; a pair of oval single stone pendent earrings, approx. 8.5mm high overall; an early 20th century oval single stone brooch stamped '9ct' (steel pin), 64mm wide overall, 4.1g; and a small half-pearl stick pin
Lot 1071
Percy G.H. Fender cricket archive: 1862: A silver top presentation walking stick, 'Presented to John Walker Esq, by the Surrey County Club for the fine display of cricket in the match Gentlemen v Players on the 26th June 1862, when obtained 98 runs', 84cm long.John Walker Esq (1826-1877) and his brother Edward played for the Gentlemen at The Oval on the 26th June 1862. The match was a draw. The Walker Brothers originally played for the Southgate Albert, the village team, on the bumpy Chapel Fields wicket until John had the ground re-turfed in the early 1850s. He and his three brothers founded a Middlesex team in 1859, the official Middlesex County Cricket Club in 1864, and were instrumental in establishing the home of the county at Lords in 1877. Although Test cricket only started in 1877, the brothers played in the United All-England Eleven prior to that date.
Lot 1079
Percy G.H. Fender cricket archive: 1912: An early 20th century silver mounted and malacca cane sword stick, maker's mark J.H.W, London, Henry Wilkinson, Pall Mall, London, etched blade, with cartouche inscription 'Bois de la Cambre April 7th 1912' blade length 70cm, overall length 92.5cm.Fender excelled at fencing at St Pauls, where his long reach was advantageous ,and he must have been one of the few cricketers to have ever fought a duel. It happened when he was working in Belgium a year or two before the First World war. A lifetime later Fender was still reluctant to go into details, but apparently, he had been paying too much attention to a girl who was unofficially engaged to an officer of the Belgian army. Fender was challenged to duel by his rival, a type of foil weapon was agreed. ' Almost as soon as it had started I nicked his arm, and that was that!' In England a year or so later a gift of a sword stick was made to him direct from the Wilkinson Sword firm. If Fender asked Wilkinson about the order he was told it was ' a gift to an Englishman who fenced better than any Englishman has a right to do' . P. G. H. Fender- A Biography, Streeton Richard, p36.
Lot 1082
Percy. G. H. Fender cricket archive: 1914-18: A Royal Flying Corps walking/ swagger stick, with a plaque dated 5-10-15, believed to be the date that he first took flight, made from a damaged mahogany propellor; together with an 11th Batt. Royal Fusiliers. Dec 1914 photograph, a Royal Army Medical Corps Depot Cricket Team 1916 photograph with plate key, Aldershot, July 1916, a R.A.F. photograph September 1940, a Sam Brown belt and sword frog and a pair of brown leather part lace up riding boots.On Tuesday 1st September Fender played the final match of the season, beating Gloucestershire to win the County Championship. The next day he joined the Inns of Court Regiment, Royal Fusiliers; Fender found he disliked the routine and regimentation of army life. In 1915 he transferred to the Royal Flying Corps, which was more to his sense of adventure. Fender was initially stationed in London, where he was involved in repelling Zeppelin attacks, before being sent to India. However, soon after his arrival, he became seriously ill with dysentery, possibly cholera. He returned to England in 1916 to recover but the illness had affected his heart and he was left weak for much of the following two years. He played some charity cricket in 1917 but did not return to duty with the Royal Flying Corps until late 1918.
Lot 104
MIXED GROUP OF FURNISHINGS, including an unusual cast metal chair with upholstered back and seat pad, 82cms H, 40cms W, 38cms seat D, 2 x probably Ercol stick back hoop dining chairs, 81cms H, 42cms W, 38cms seat D, antique haystack copper jug, 35cms H ETCProvenance: deceased estate Cheshire
Lot 1029
Incl. children's books, calendars, theatre programs (mainly Stadsschouwburg Amsterdam), literature and music. (1) Grijpt als 't rijpt. Amst., by M. Lindenbaum & Co for Vereeniging van Handelaren in Oude Kunst in Nederland, in 500 numb. copies (unnumb. copy), 1931, 23 p., w. (full-p.) ills. after Cramer, orig. silver paper wr., 4to. (2) "De keuken van de zuinige Annemie van Calvé Delft". Cardboard commemorative collage display for Nederlandsche Oliefabriek/ Calvé, celebrating 50 year anniversary, 1884-1934, 31 x 37.5 cm, w. suspension cord, the background and mounted cut out figures after Cramer. W. a few sm. defects/ lacking parts. Rare. (3) "Deez' meetstok zegt..." Unused fold. cardboard measuring stick, unfolded measuring 150 x 8 cm, issued by insurance company De Nederlanden van 1845, n.d., des. by Cramer, in the orig. envelope. Rare. -and 27 others w. ills. by Cramer, incl. a calendar for 1931, a birthday calendar, the complete set of the 4 seasons in 2nd ed., a very rare programme of the Openluchttheater Valkenburg and items related to her husband, the theatre director Eduard Verkade. A few duplicates. Collection illustrating the versatility of the artist. (total approx. 30)
Lot 6311
Cullompton, Beau Geste Press, 1975. Softcover, 29 x 21 cm, 90 pp. with 8 inserts including booklets and a stick. Edited by David Mayor, printed and bound by Takako Saito. Edition of 550. Contributors include Eric Andersen, Ian Breakwell, Robin Crozier, Coum, Felipe Ehrenberg, Richard Kostelanetz, Jaroslaw Kozlowski, Takehisa Kosugi, Jiri Valoch, Stu Horn, Opal L. Nations and others. Light bend to top right corner, moderate imprint of inserted object to back cover, else a fine copy.
Lot 146
A decorative cast iron umbrella/ stick stand, height 76cm, width 40cm.Condition Report: The age is difficult to determine as it has been repainted at some point in recent years. There is a registration mark, but that's no guarantee it's original as later castings still incorporated them. Condition is very good, with no signs of breaks or repairs.
!['Old man with walking stick' [arm and stick move, head nods up and down] Wilkinson, Sunderland (7 x 4 1/2 x 5/8 inches), doub](https://cdn.globalauctionplatform.com/74768d0b-25c3-4357-b936-b0a000ddda75/e9c49cfa-043a-4314-9dfe-b0ad00f2b0da/468x382.jpg)
Lot 177
A BOX OF ASSORTED ITEMS, to include a white metal charm bracelet fitted with a heart padlock clasp, stamped silver, approximate gross weight 62.4 grams, a silver medicine spoon, three silver teaspoons, a salt spoon, all cutlery hallmarked, approximate gross weight 58.2 grams, a kitchen knife set, a cased set of tea knives fitted with mother of pearl handles, a box set of EPNS spoons, two EPNS pierced bonbon dishes, a boxed 'Victornix' Swiss army knife, assorted loose cutlery pieces, a gents Rotary wristwatch, a gents Lorus wristwatch, a ladies gold plated 'Seiko Quartz' wristwatch, mother of pearl dress studs, stick pins, etc (condition report: buyer must be 18 years or over)
Lot 19
A 9CT GOLD FIVE STONE RING, STICK PIN AND BROOCH, the ring designed as five graduated oval cut amethyst, detailed gallery and shoulders leading onto a polished band, rubbed hallmark, ring size S, approximate gross weight 4.2 grams, an open work brooch with initials, fitted with a brooch pin and C clasp, hallmarked 9ct Birmingham, approximate gross weight 2.3 grams, together with a yellow metal Etruscan stick pin stamped 10c, approximate weight 1.6 grams (condition report: would benefit from a gentle clean and polish)
Lot 79
A. R. Penck (1939 Dresden - 2017 Zürich) (F)Ohne Titel, Acryl auf Leinwand, 100 cm x 200 cm Leinwandmaß, signiert, partiell leicht fleckig. Das Gemälde ist im Archiv der GALERIE MICHAEL WERNER verzeichnet. Wir danken Herrn Michael Werner (Galerie Michael Werner) für die freundliche Unterstützung.Auf 2 Metern Länge dominieren zahlreiche Strichmännchen das großformatige Gemälde und lassen den Betrachter an die Anfänge der primitiven Malerei zurückdenken. Die abstrahierten menschlichen Figuren kommen ohne jede Perspektive oder Zentrierung aus und befüllen in vollkommener Flächigkeit die gesamte Leinwand. Unter Verwendung ausschließlich dreier Grundfarben: Schwarz, Rot und Blau auf weißem Hintergrund, schafft A. R. Penck in der für ihn typischen linearen Zeichensprache eine ganz eigene Bildwelt. Das symbolhafte Zeichenrepertoire ist, ebenso wie die Verwendung der drei elementaren Farben, charakteristisch für sein sogenanntes "Standard-System", welches der Künstler in den 1960er Jahren entwickelte. Pencks Formensprache besteht hauptsächlich aus zu Strichmännchen abstrahierten Figuren und Tieren, sowie Linien und Symbolen. Dieses Alphabet ist solitär in der deutschen Nachkriegskunst und zeugt deutlich von der Auseinandersetzung des Künstlers mit der Archäologie, Ethnologie und der Kunstgeschichte, denn die einzigartige Zeichensprache rekurriert auf vorzeitliche Kulturen und greift sowohl prähistorische Höhlenmalereien als auch altägyptische Hieroglyphen auf. Diesem Markenzeichen verdankt Penck den Beinamen "Höhlenmaler der Postmoderne". Ebenjenem aus Zeichen bestehendem System bediente sich der Künstler als universell verständliches Ausdrucksmittel, dass auf den ersten Blick leicht zugänglich erscheint, deren Symbole und Hintergründe für den Betrachter jedoch nie gänzlich zu entschlüsseln sind und somit Raum für die individuelle Interpretation freilassen. Einen solchen Effekt erzeugt auch das vorliegende Querformat. Die symbolhafte Malerei des Künstlers, verbindet sich auf einer Länge von 2 Metern mit modernen Piktogrammen zu einer gleichermaßen archaischen wie humorvollen Darstellung, dessen Decodierung dem Betrachter selbst überlassen ist - schließlich schwieg der Künstler zeit seines Lebens zur Entschlüsselung seiner Formensprache. "Auch halte ich es für völlig überflüssig, meinen Bildern noch irgendwelche Erklärungen beizugeben." (A. R. Penck, in: Kunstforum, Bd. 12, Ich über mich selbst.)A. R. Penck (1939 Dresden - 2017 Zurich) (F)Untitled, acrylic on canvas, 100 cm x 200 cm canvas dimensions, signed, slightly stained in places. The painting is listed in the archive of the GALERIE MICHAEL WERNER. We would like to thank Mr. Michael Werner (Galerie Michael Werner) for his kind support.Numerous stick figures dominate the large-format painting over a length of 2 meters and make the viewer think back to the beginnings of primitive painting. The abstracted human figures do without any perspective or centering and fill the entire canvas in perfect flatness. Using only three primary colors: black, red and blue on a white background, A. R. Penck creates a very unique world of images in his typical linear sign language. The symbolic drawing repertoire, as well as the use of the three elementary colors, is characteristic of his so-called ''standard system'', which the artist developed in the 1960s. Penck's formal language mainly consists of figures and animals abstracted into stick figures, as well as lines and symbols. This alphabet is unique in German post-war art and clearly demonstrates the artist's engagement with archaeology, ethnology and art history, as the unique sign language refers to prehistoric cultures and takes up both prehistoric cave paintings and ancient Egyptian hieroglyphs. Penck owes his nickname ''postmodern cave painter'' to this trademark. The artist used this system consisting of signs as a universally understandable means of expression that appears easy to access at first glance, but whose symbols and backgrounds can never be completely deciphered by the viewer and thus leave room for individual interpretation. The present landscape format also creates such an effect. The artist's symbolic painting, over a length of 2 meters, combines with modern pictograms to create an equally archaic and humorous representation, the decoding of which is left to the viewer himself - after all, the artist remained silent throughout his life when deciphering his formal language. ''I also think it's completely unnecessary to add any explanations to my pictures.'' (A. R. Penck, in: Kunstforum, Vol. 12, I about myself.)
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122917 item(s)/page