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Lot 73
A Troika pottery vase of 'urn' form, painted with circles in squares to the body, painted to the base 'Troika' and artists, monogram 'HB' (shape number T2901) 26cm highCondition report – Good condition – no chips, cracks , or restoration, using a torch noticed some crazing to the inside glaze.
Lot 4092
Barr, Flight and Barr painted porcelain urn, early 19th century, of 'Warwick Vase' shape the gilt gadrooned rim above entwined twin handles terminating in moulded vine leaves, the gilt decorated body painted with a band of polychrome flowers and a beaded border, raised on a socle foot and gilt square base, painted maker's marks Barr Flight and Barr, Worcester, Flight and Barr, Coventry Street London, Manufacturers to Their Majesties the Royal Family H18cmCondition Report: Surface marks and wear consistent with age and useCrack to bottom of bowl, wear to gilding and paint,
Lot 14
20th century lantern clock.Bronze.Measurements: 20 x 8.8 x 8.8 cm.Lantern clocks, probably so called because of their lantern-like shape, originated around 1500, but only became common after 1600 (in Britain, around 1620), becoming obsolete in the 19th century. The present example continues the typical appearance of this type of clock: a square case on spherical or urn feet (turned in this case), with a large circular dial, only one hand (the hour hand), and a large bell with a crown. The clocks were usually decorated with openwork ornamental motifs above the frame. Originally, they were operated by weights: usually one weight for the clock, and a second weight for the chime. Later, some spring-driven models were built, and many others were transformed into pendulum clocks.
Lot 17
Congreve clock (20th century), replica of the one kept in the British Museum, London (1808).In glass and wood urn.Measurements: 40 x 34 x 34 cm.The Congreve ball clock was invented by the artillery engineer William Congreve in 1808. Also known as Congreve's Rolling Ball Clock or Oscillating Trajectory Rolling Ball Clock, it is a type of clock that uses a ball that rolls along a zigzag track instead of a pendulum to regulate the time. The ball takes between 15 seconds and a minute to run along the zigzag track, where it triggers the escapement which in turn reverses the tilt of the tray and at the same time causes the hands of the clock to move forward. Thus, the angle of the plate is reversed and the hands of the watch advance between one and four times per minute. In versions of the watch with a dial for indicating the seconds, the second hand jumps forward 15 or 30 seconds at each oscillation, depending on the length of the track.
Lot 35
JULIAN OPIE (B. 1958)Wooden Painting 16 2006 signed on the reverseenamel on wood90 by 61.2 cm.35 7/16 by 24 1/8 in.This work was executed in 2006.Footnotes:ProvenanceAcquired directly from the artist by the present owner in 2007Contemporary British artist Julian Opie is widely recognised for his distinctive depictions of figures, portraits, and landscapes. Born in London in 1958, Opie graduated from Goldsmiths College in 1982, studying under Michael-Craig Martin, and was quickly associated with the New British Sculpture movement. From the 1980s into 1990s he transitioned from painted steel sculptures inspired by Pop Art and Minimalism into a simpler graphic style, which he employs across a diverse range of media, from paintings to animation, continually pushing the boundaries of traditional artistic practice.Opie plays with ways of seeing through reinterpreting the vocabulary of everyday life; his reductive style evokes both a visual and spatial experience of the world around us. Alongside his clear influence in Pop aesthetics, particularly the work of Andy Warhol and Roy Lichtenstein, Opie draws further inspiration from classical portraiture, Egyptian hieroglyphs, Greek mythology, Japanese woodblock prints, as well as public signage, information boards, traffic signs and even the Tintin cartoons by Hergé. Through connecting the clean visual language of modern life with the fundamentals of art history, Opie has produced a distinctive and unique style in his body of work which have appeared in cities and sculpture parks around the world.Perhaps more widely recognised for his portraits and figurative studies, Opie reduces his subjects to essential lines created by thick black outlines and filled in with solid areas of flat, vibrant colour. His figurative subjects are de-personalised; he either chooses to render a featureless face using just a blank circle, or otherwise only depicts very basic facial features using dots and lines in the simplest expression of form. He chooses to differentiate his figures through colour of backgrounds, hairstyles, position of head, light reflected in the eyes and accessories. This depersonalised style creates an ambiguous sense of subjectivity in the sitter and provokes the viewer to question what makes a portrait of a person distinct and how they can relate to it. Bonhams are delighted to be offering three works by Julian Opie - two figurative pieces and a dynamic digital landscape of Lake Kawaguchi in Japan. Aniela 2, executed in 2011, is a portrait of the artist's wife. Set against a vibrant red background, Aniela is not submitting to the viewer; she appears to us in the nude, loosely holding a piece of drapery, captured in a private moment. Aniela was a regular sitter for the Opie and resulted in a series inspired by Renaissance and neoclassical paintings of Greek goddesses such as Aphrodite. In this series, Opie portrayed his wife in the nude occasionally wrapped in drapery which has been reduced to its most essential elements or holding a Grecian urn. Indeed, in this present work we can draw parallels to classicism and his interest in interpreting Greek mythology. Julian Opie's style increased in popularity after he designed the cover of English Britpop band Blur's best of album which was released in 2000.The four-part portrait is not only one of the most famous album covers to be produced but is considered as an iconic artwork. The portraits of the four band members of Blur were bought by the Art Fund in 2001 and now reside in the collection of the National Portrait Gallery in London. Today, Julian Opie is considered one of the leading contemporary artists in the world and his work is exhibited extensively in galleries and museums around the world, including in the Essl Collection, Vienna, the Stedelijk Museum, Amsterdam, Israel Museum, Jerusalem, Takamatsu City Museum of Art, Japan, Museum of Modern Art, New York, Institute of Contemporary Arts, Boston, among many others.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 5533
Coins, Roman Imperial, Late Empire, comprising billon denarius, Julia Soaemias, obv. head r., IULIA SOAEMIAS, rev. PIETAS AUG, GF; Billon Antoninianus (silvered) Valerian II (256-258), obv. radiate head r., C L VALERIANUS CAES AUG, rev. PIETAS/AUG, urn F/.GF; AE Antoninianus, Gallic Empire, Postumus (260-269), obv., radiate head r., IMP C POSTUMUS PF AUG rev. VICT/ORIA AUG victory stdg. L., EF; Follis, Maxentius (306-312), Rome mint, obv. laur. hd. r., IMP C MAXENTIUS PF AUG, rev. CONSERV URB SUAE temple, in ex. RBQ; AE3 Licinianus I (308-324) Cyzicus mint, obv. laur hd. R., IMP C VAL LICINIANUS PF AUG, rev. IOVI CONS/ERVATORI figure stdg., XIII, in ex. SMKA, VF; AD3 Thessalonica mint, Constantine I, c. 330, obv. URBS ROMA helmeted head l., rev. she wolf, two stars flanking annulet above, in ex. TES, VF; AE4, Constantine II as Caesar (317-337), obv., diademed head r., CONSTANTINUS IUN NOB, rev. CAESARUM NOSTRORUM, in wreath VOT X, VF; AE3 Trier mint, Constantine II as Caesar (317-337), obv. laur. head r., CONSTANTI/NUS [NOB CAES], rev. two soldiers flanking two standards GLORIA EXERCITUS in ex. TRP, F; AE3 Constantius II (337-361), obv. diademmed head r., DN CONSTAN/TIUS II PF AUG, rev. FEL TEMP RE/PARATIO emperor l. beating captive, GVF; other small third/fourth century bronze coins, [15]
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