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Lot 79
Hugues Sambin (1520-1601)-attributed, Two richly carved oak doors with faces and angels' heads, in arched niches surrounded by floral and ornamental decorations, in fields with side columns, possibly original parts from a wall decoration or armoire with later adaptions and reconstructions to doors; inside with leather tapestry and iron fittings from later date.Height 269, wide 140 cm
Lot 170
19th-early 20th century AD. A mixed fabric group comprising: a textile tapestry square with winged male on a red field in a wreath and Greek key border; a scene of Regency entertainment with gentlemen and a lady at the piano. 136 grams total, 33-42cm (13 - 16 1/2). From a South West London collection; acquired 1990s. [2, No Reserve]. Fine condition.
Lot 1509
An old oak oval gateleg table with plain top, on bobbin turned supports and block feet, 56ins x 57ins x 28.5ins high, four 19th Century elm dining chairs of "Country Chippendale" design, with shaped crest rails, fretted vase pattern splats, drop-in seats upholstered in floral tapestry, on square front legs and two other similar chairs
Lot 450
Kevin Roberts ( -) AN ANNINCIATION WITH A PINCH OF SALT signed and dated 98 oil on wood 151 by 122cm Kevin Roberts’ serene, balanced and carefully constructed artworks with their distinctive style of rhythmic patterns and recurring symbols have won him much acclaim, leading art critics like Ingrid Stevens to boldly proclaim that, “Kevin Roberts affirms the visual, or let us call it the ‘beautiful’ as the essence of his art… His paintings explore beauty, craftsmanship pattern and images as part of an integrated whole. In this he too becomes part of a tapestry of painting stretching from the traditional to the contemporary.” Robert’s oeuvre makes up a dense body of work, many of which refer, in some shape or form to weaving. In the current lot we see this in the interwoven branches that form the dense bush background. The notion of weaving is indeed an apt metaphor for Roberts’ work generally, as in them he draws different threads together into a rich tapestry. The artist was careful, however, never to interpret his own work too closely, believing that there must be space for the viewer to construct their own meanings from his work. He was quick to note that his paintings essentially seek to evoke either a sense of mystery that resonates with the viewer or a suggestion of poetic promise of meaning, but never closure. The art of Kevin Roberts is intrinsically obsessed with contemplation above conclusion. - Kayleen Wrigley
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