A pair of 20th century cast composition stone garden urns, each raised on a circular foot with lion ring handles, height 30cm, diameter 38cm, a plain composition planter of conical form, height 22cm, diameter 45cm, and a set of three terracotta planters with frilled rims, height 23cm, diameter 33cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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A 20th century cast composition stone birdbath with dished bowl above a reeded baluster stem and circular foot, height 81cm, diameter 62cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 20th century cast composition stone garden figure of Venus, height 85cm, together with a similar model of a goose, height 60cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 20th century cast composition stone planter of rectangular form, relief cast with lion masks and foliate band, on two shaped supports, height 57cm, width 93cm, depth 44cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A late 20th century cast composition stone garden birdbath, the circular top raised on a naturalistic stem, decorated in relief with ivy leaves and berries, height 76cm, diameter 59cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A pair of 20th century cast composition stone portrait plaques, each relief cast with opposing classical busts, 47cm x 33cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 20th century cast composition stone garden statue, modelled as the Three Graces, raised on a naturalistic integral base, height 80cm, width 50cm, depth 26cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 20th century cast composition stone garden urn of twin-handled campana form, raised on a square section pedestal, height 93cm, width 44cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 20th century cast composition stone rectangular garden trough, relief cast with lion masks and foliate scrolls, height 24cm, width 93cm, depth 43cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
CHEMA MADOZ (Madrid, 1958)"Untitled. 1992.Black and white photography.It has a label from the Madrid gallery Moriarty, on the back.Size: 33 x 33 cm; 62 x 52 cm (frame).Visual paradox is the fertile ground in which Chema Madoz moves. His way of interpreting art through photography and his poetic vision make Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths. Playing with the everyday, generating associations, metamorphoses, in a playful background, he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Award and the PHotoEspaña Award in 2000, and the Culture Award of the Community of Madrid in the category of Photography in 2012, among others.
CHEMA MADOZ (Madrid, 1958)"Untitled. 1999.Black and white photography. Copy: 5/15.Signed, dated and justified by hand on the back.Size: 30 x 40 cm.Visual paradox is the fertile ground in which Chema Madoz moves. His way of interpreting art through photography and his poetic vision make Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths. Playing with the everyday, generating associations, metamorphoses, in a playful background, he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Award and the PHotoEspaña Award in 2000, and the Culture Award of the Community of Madrid in the category of Photography in 2012, among others.
Stone, Sasha and Cami -- Brandenburger Tor, Berlin. 1928-30. Vintage ferrotyped gelatin silver print. 23,8 x 17,8 cm. With 2 photographer's/copyright stamps, (1 Berlin, 1 Brussels), annotated in red ink/pencil and typed publication note on the verso. Small tears in left edge, edges curled, some light surface rubbing, otherwise in very good condition.Lit.: Dr. Adolf Behne (ed.). Berlin in Bildern. Berlin 1929, ill. unpaginated.
BACTRIAN FEMALE STONE IDOL MARGIANA, CENTRAL ASIA, c. 2300 - 1900 B.C. carved green chlorite and limestone, standing on a flat base, wearing a loose fitting robe carved with a pattern imitating a sheepskin fleece, the limestone head with a ridge nose and subtly indicated eyes and mouth, surmounted by a rounded cap(6.1cm tall)Provenance: Private collection, United Kingdom, formed 1968 - 2018
FINE ABORIGINAL BOOMERANG AUSTRALIA carved wood, of classic form, with stone carved grooves running along the length of the blade terminating at the handle, raised on a bespoke mount(77cm long)Provenance: A private Scottish collection of Aboriginal boomerangs formed over the past thirty years.
ANCIENT CELTIC STONE HEAD UNITED KINGDOM, LIKELY 1ST CENTURY B.C. carved and weathered red sandstone, of powerful visage, with arched brows, deeply set eyes and broad triangular nose, the mouth bearing an enigmatic smile with a broad moustache covering the upper lip(24cm tall)Provenance: Originally uncovered during the digging of a wall at Sharpcliffe Hall, Staffordshire, United Kingdom. The site is situated in the immediate vicinity of prehistoric structures uncovered by men working in a gravel pit in 1910. Subsequently part of a private collection, United Kingdom. Note: Stone votive heads are perhaps the most enigmatic of all the art produced by the Iron Age peoples of Britain, Ireland and continental Europe, often termed “Celts”. Frequently found near bodies of water, their function is not clear, suggestions have included their use as surrogates in head hunting societies, cult foci, or as venerated objects of healing. The ubiquity of the head motif sculpted in stone or carved in metal suggests that the ancient Britons held it in special reverence, likely believing it to be the centre of the soul. The present example epitomises the simple lines imbued with great power that defines ancient Celtic art. The individual depicted, whether deity or human subject, has an undeniable presence. The style of the finely backcombed hair and moustache, well-groomed and reaching across much of the face, bears a strong similarity to those seen on three small copper alloy models of men's faces uncovered at two Late Iron Age burials (c. 50 – 20 B.C.) in Welwyn in 1906 and now housed at the British Museum (accession number 1911,1208.5). The facial character depicted in both the present piece and the Welwyn fittings is reflected in the contemporaneous record of the Greek writer Diodorus Siculus when discussing the physical appearance of the Gauls, the British Celts continental cousins in the 1st century B.C.: “The Gauls are tall of body with rippling muscles and white of skin and their hair is blond, and not only naturally so for they also make it their practice by artificial means to increase the distinguishing colour which nature has given it. For they are always washing their hair in limewater and they pull it back from the forehead to the nape of the neck, with the result that their appearance is like that of Satyrs and Pans since the treatment of their hair makes it so heavy and coarse that it differs in no respect from the mane of horses. Some of them shave the beard but others let it grow a little; and the nobles shave their cheeks, but they let the moustache grow until it covers the mouth.” His haunting smile is relatively unusual, with a thin slit mouth more common amongst Celtic sculpture of the period. One notable parallel is the Hendy Head (displayed at Oriel Môn), discovered in a field on Anglesey during the 1950’s. Carved of red sandstone and dating to the late Iron Age, it likely depicts a Celtic deity worshipped at a local shrine, the mouth has a drilled opening to one side for libations and is formed into a similarly unsettling smile. The power of ancient Celtic art lies in its ability to sit between the recognisable and the otherworldly. The fact that this piece’s exact its meaning is lost to us perhaps adds to this ethereal quality.
MĀORI HEI-TIKI PENDANT NEW ZEALAND, 19TH CENTURY OR EARLIER carved and polished inanga pounamu, successive tapering perforation holes, with the original now worn through, the stone fine and quite translucent, with carved features, the head angled with recessed eyes originally for the insertion of shell inlays, the hands shown held to the legs, with two horizontal lozenges indicating the feet(10.5cm tall)Note: The surface wear and collapsed perforation on the present example suggest extensive use and age. The positioning of the original (now worn through) hole suggests it may have sat as a rounded tab above the head as found in a select number produced on the South Island (Austin:2020 p.129).
Mixed 19th century jewellery to include a mid Victorian yellow metal and black enamel mourning brooch, the central glazed recess with woven hair memorial surround by split seat pearls, inscription to reverse dated 1868, a smaller mourning brooch also with central glazed recess containing woven hair, inscription to reverse dated 1831, a yellow metal pendant set with a white stone, and four gold plated pendants, one on a gold plated chainLocation:
A mixed bag of jewellery to include a silver pendant set carnelian, with certificate, a silver pendant set sapphire & white zircon, with certificate, a silver pendant set with amber, with certificate, a replica brooch from RMS Titanic in gift box, a pair of dangly gem set silver earrings, a Spode flower pin, a Photocraft swan bookmark, a cameo ring and brooch, a costume jewellery mesh design necklace with black stone and a 9ct yellow gold ring set with an opal triplet, 2.62gm, size N.
A mixed lot to include a 9ct yellow gold wedding band, 3.26gm, a 22ct yellow gold wedding band, 2.28gm, a 9ct yellow gold cross & chain, 5.00gm, a pair of 9ct yellow gold pearl studs, 1.16gm, a pair of gold tone flower earrings with a white stone, (not hallmarked or tested), 2.38gm, an 18ct yellow gold & platinum diamond set ring, 3.07gm, an Oriosa 9ct yellow gold cased ladies wristwatch with a stainless steel stretch bracelet (please note the crown has come loose), 15.11gm, (7).
Five 9ct gold rings to include an engraved wishbone design ring, 2.73gm, size N to O, a 9ct seven stone ring, 1.35gm, size K 1/2 to L, a 9ct gold ring set with pink sapphires & small diamonds, 1.84gm, size P 1/2, a 9ct gold band set with a small blue diamond, 3.09gm, size M 1/2 to N and a 9ct gold wedding band, 2.70gm, size U 1/2 to V, (5).
A mixed bag to include two 9ct yellow gold rings set paste stones, a 9ct yellow gold ring set turquoise & pearl, a pair of 9ct white gold flower studs set sapphire & a tiny central diamond (one butterfly missing), total weight of gold items 12.00gm and three silver stone set rings and a costume jewellery gold tone bracelet, total weight 19.00gm, (8).
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398886 item(s)/page