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A series of five assorted late 19th Century hard paste figures, to include a Samson figure group of lady and gentleman with a telescope, pseudo Derby marks, another with gentleman and dog and lady on a donkey, shepherd and shepherdess figures, one with pseudo Chelsea anchor mark and a miniature figure of a boy with flowers, height of largest 19cm (5)
David Lock Misfit, 2021 Watercolour and Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) David Lock's paintings explore men and masculinities in a process of becoming. The paintings utilise a collagist approach. In the process of creating his 'Misfit' paintings, he makes collages culled from advertisements and imagery from mainstream magazines. In their making, the collages and subsequent paintings have a performative quality. Lock is investigating how to create a multitude of subject positions, upon which signifiers are free to float, shifting identification from one fragment to another. In this sense the paintings resist a single reading or viewpoint, and instead any reading is unmoored, fluid and contingent. A sense of vulnerability is reinforced by the paintings being composed from collaged elements. He was a Prizewinner in the 'Creekside Open 2019', selected by Sacha Craddock. In 2018, Lock's painting 'El Muniria' was selected for the 'John Moores Painting Prize', after which, the Walker Art Gallery, Liverpool purchased the painting for its permanent collection. He is a recipient of the prestigious Abbey award at the British School at Rome in 2012 Recent exhibitions include 'RA Summer Exhibition 2021 at Royal Academy of Arts, 'between parts undone - Paintings by David Lock, Gavin Maughfling and J. A Nicholls' at studio1.1, London, and 'Telescope', at Jerwood Gallery Hastings. He is currently working on a commission for 'Hospital Rooms' for 2021. He lives and works in London. Education 00-01 MA Fine Art Goldsmiths, London 99-00 PG (Dip) Fine Art Goldsmiths, London 95-99 BA (Hons) Fine Art University of Reading, Reading 94-95 Art Foundation De-Montfort University, Leicester Exhibitions Solo Exhibitions 2018 'Fragmented Eros', studio.1.1, London 2008 'John Jones Work on Paper Prize', Zoo Art Fair, London 2007 'Misfits & Maladies', FRED London/Leipzig Recent Group Exhibitions 2021 - 'Darkness at Noon', curated by Ruth Callard and Mimei Thompson, APT Gallery, London (forthcoming) 'Summer Exhibition', Rarity Gallery, Mykonos, Greece (forthcoming) 'Stand Close and Breath Me In', curated by Enzo Marra, Oceans Apart, Salford travelling to Pineapple Black, Middlesborough (forthcoming) 'Bare Bones', curated by Ian Thomas, AIRspace Projects, Sydney, Australia 2020 'Miniatures and Masterstrokes', Rye Art Gallery, East Sussex 'Summer (Winter) Exhibition', Royal Academy of Arts, London 'John Lennon is Not Dead', curated by Harry Pye, Stash Gallery at Vout O Reenees, London 'EXH 02', Floorr Magazine, online exhibition. 'between parts undone - Paintings by David Lock, Gavin Maughfling, J.A Nicholls, studio1.1, London 2019 'Creekside Open', curated by Sacha Craddock, APT Gallery, London (Prizewinner) 'Telescope', curated by Nigel Cooke, Jerwood Gallery, Hastings 2018 'Rules of Freedom', curated by Rosalind Davis, Collyer Bristow Gallery, London 'John Moores Painting Prize 2018', Walker Art Gallery, Liverpool 'Creative Rage', curated by Duovision Arts, Stoke Potteries Museum and Art Gallery, Staffordshire 'The Performativity of Painting', curated by Alex Roberts, Stephen Lawrence Gallery, Greenwich
David Lock Misfit, 2021 Watercolour and Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) David Lock's paintings explore men and masculinities in a process of becoming. The paintings utilise a collagist approach. In the process of creating his 'Misfit' paintings, he makes collages culled from advertisements and imagery from mainstream magazines. In their making, the collages and subsequent paintings have a performative quality. Lock is investigating how to create a multitude of subject positions, upon which signifiers are free to float, shifting identification from one fragment to another. In this sense the paintings resist a single reading or viewpoint, and instead any reading is unmoored, fluid and contingent. A sense of vulnerability is reinforced by the paintings being composed from collaged elements. He was a Prizewinner in the 'Creekside Open 2019', selected by Sacha Craddock. In 2018, Lock's painting 'El Muniria' was selected for the 'John Moores Painting Prize', after which, the Walker Art Gallery, Liverpool purchased the painting for its permanent collection. He is a recipient of the prestigious Abbey award at the British School at Rome in 2012 Recent exhibitions include 'RA Summer Exhibition 2021 at Royal Academy of Arts, 'between parts undone - Paintings by David Lock, Gavin Maughfling and J. A Nicholls' at studio1.1, London, and 'Telescope', at Jerwood Gallery Hastings. He is currently working on a commission for 'Hospital Rooms' for 2021. He lives and works in London. Education 00-01 MA Fine Art Goldsmiths, London 99-00 PG (Dip) Fine Art Goldsmiths, London 95-99 BA (Hons) Fine Art University of Reading, Reading 94-95 Art Foundation De-Montfort University, Leicester Exhibitions Solo Exhibitions 2018 'Fragmented Eros', studio.1.1, London 2008 'John Jones Work on Paper Prize', Zoo Art Fair, London 2007 'Misfits & Maladies', FRED London/Leipzig Recent Group Exhibitions 2021 - 'Darkness at Noon', curated by Ruth Callard and Mimei Thompson, APT Gallery, London (forthcoming) 'Summer Exhibition', Rarity Gallery, Mykonos, Greece (forthcoming) 'Stand Close and Breath Me In', curated by Enzo Marra, Oceans Apart, Salford travelling to Pineapple Black, Middlesborough (forthcoming) 'Bare Bones', curated by Ian Thomas, AIRspace Projects, Sydney, Australia 2020 'Miniatures and Masterstrokes', Rye Art Gallery, East Sussex 'Summer (Winter) Exhibition', Royal Academy of Arts, London 'John Lennon is Not Dead', curated by Harry Pye, Stash Gallery at Vout O Reenees, London 'EXH 02', Floorr Magazine, online exhibition. 'between parts undone - Paintings by David Lock, Gavin Maughfling, J.A Nicholls, studio1.1, London 2019 'Creekside Open', curated by Sacha Craddock, APT Gallery, London (Prizewinner) 'Telescope', curated by Nigel Cooke, Jerwood Gallery, Hastings 2018 'Rules of Freedom', curated by Rosalind Davis, Collyer Bristow Gallery, London 'John Moores Painting Prize 2018', Walker Art Gallery, Liverpool 'Creative Rage', curated by Duovision Arts, Stoke Potteries Museum and Art Gallery, Staffordshire 'The Performativity of Painting', curated by Alex Roberts, Stephen Lawrence Gallery, Greenwich
A Carpenter, London brass and wood four-drawer telescope, marked 'Carpenter, London' to the eyepiece cover, also two 19th century card cases to include a 19th Century Anglo-Indian Sadeli visiting ivory card case with Vizagapatam-style micromosaic inlay borders and central cartouche panels with geometric medallions, and a carved box wood example depicting figures and buildings (3).
Admiral Lord Nelson Interest: A three draw brass telescope, unsigned, circa 1798, Length: Closed 295mm / 11 1/2 inches; extended 880mm / 34 1/2 inches. engraved in continental style on the lens capsule: Admiral Nelson 1798 Ship Vanguard.with later wooden caseOf high magnification with the metalwork of non-standard design, this instrument may have been specially engineered and commissioned for Nelson in the 1790s. Possibly it was used by Nelson in the Mediterranean whilst in Vanguard during the 1798 Nile campaign.Provenance: Admiral Lord Nelson (1758-1805). By repute gifted to his father's (Rev Edmund Nelson) servant Abraham Cook (1776-1856) or Abraham's brother John Cook (born 1781) firstly member of Merton household and subsequently an Ordinary Seamen in HMS Conqueror at the Battle of Trafalgar. To their younger brother, William Thomas Cook (1795-1881). Thence by direct descent.NOTE: other telescopes with possible Nelson's provenance include: One sold Christie's 1932 with Hardy family provenance, for £1500 (now National Maritime Museum, Greenwich); another "gifted" by Nelson, also to a servant, in 1804 (sold at auction in 1904); another he gifted, also in 1804, to a seaman in Victory (exhibited in 1896) and a telescope he is said to have been given by his father Rev. Edmund Nelson (sold at Sotheby's in 1920 for £50).
A late Victorian rosewood and Tunbridge ware book stand, 32cm wide, 24cm high; and a World War I leather and brass military issue 3 draw telescope, marked 'T.T & H Ltd 1916 no.3523, Tel. Sig. (Mk IV) also G.S.', 28cm shut (2) Condition Report: First- very dry surface and some scuffing to varnish- back rest with repair- lacks pins to front Telescope- lens cracked, leather very dry and stitching perished Condition Report Disclaimer

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25691 item(s)/page