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Click here to subscribeFan. A George III folding fan, circa 1760, the recto with an oval printed portrait of King George III applied to pink paper printed with a repeating geometric design and silver sequins, foliate carved bone sticks, guardsticks with pierced design of a dog looking at a bird perched in a tree, repaired and some damage including one stick missing, 24.5cm (9.75ins)Qty: (1)Footnote: A rare fan possibly made for the Coronation of King George III.
Fans. A large Brussels lace wedding fan, Duvelleroy, circa 1890, folding fan of cream hand-made Brussels Duchesse bobbin lace, mounted on ivory sticks, 37cm (14.5ins), housed in original cardboard box, with maker's label inside lid, together withA monogrammed feather fan, circa 1900, folding fan of brown feathers flecked with white (from a raptor, possibly an eagle), mounted on faux tortoiseshell sticks, upper guard stick with mounted metal monogram 'CO' surmounted by a coronet with 7 pearls on stalks, embellished with a brown tassel incorporating a plaited closure loop, 39cm (15.25ins), and a French folding fan with chromolithographed cream silk leaf depicting a young lady on a swing attended by 2 young gentlemen, signed 'A. Laurence', lightly foxed, mounted on pierced bone sticks, rear guard stick with horizontal break, 30cm (11.75ins) Qty: (3)
A PAIR OF CLOISONNE 'BUFFALO' JOSS STICK HOLDERS, LATE QING DYNASTYChina, 19th century. Modeled as a pair of standing buffalos, their head turned to the side, with three differently shaped joss stick and incense ware holders on their backs, the horns flattened, possibly designed to serve as a stand. The gilt-copper body finely enameled with colorful archaistic designs. An apocryphal four-character Qianlong reign mark to the rectangular compartments.Provenance: From a reputed French private collection, acquired at Woolley & Wallis on 17 November 2010, lot 52 (invoice lost). Either animal shows the stamped numbering '26' to the underside of one hoof. Condition: Very good condition with little surface wear, small firing irregularities, and small losses to enamels.Weight: 1,142 g and 1,149 gDimensions: Length 20 cm, height 18 cm晚清一對銅胎掐絲琺琅水牛燭臺中國，十九世紀。呈一對水牛狀，頭偏向一側，背上有三個不同形狀的香台和燭台；牛角扁平；身飾景泰藍地仿古紋飾，如卷葉紋與鳥紋。燭臺側面可見"乾隆年製"四字款。 來源：法國私人收藏，2010年11月17日購於Woolley & Wallis lot 52 (發票遺失)。兩隻水牛一隻蹄子的下方都印有編號"26"。 品相：狀況極好，表面小磨損，燒製小瑕疵，琺琅小磨損。 重量：分別1,142 克與1,149 克 尺寸：長20 厘米, 高18 厘米
Walter Whall Battiss (South African, 1906-1982)The Hunt, 1962 signed 'Battiss' (lower right)oil on canvas60.5 x 70.5cm (23 13/16 x 27 3/4in).Footnotes:ProvenanceAdler Fielding Galleries, Johannesburg;Acquired from the above by the present owner in 1962.Painted in 1962, The Hunt superbly encapsulates the unique pictorial imagery of South African artist Walter Whall Battiss which synthesises the dual influences of South African rock art and European modernism. Born to an English Methodist family in 1906, Battiss first encountered the rock art of the Stone Age cultures of Southern Africa as a boy in 1917 when his family moved from Somerset East in the Cape to Koffiefontein. He began his formal art training at the Witswatersrand Technical College, Johannesburg in 1929. However, it was not until the artist's first visit to Europe in 1938 that he began to investigate in earnest how the prehistoric art of his native country might be incorporated within his own practice. In Paris and Florence, he engaged with the work of Henri Matisse, Amedeo Modigliani, Paul Gaugin, and Pablo Picasso (whom Battiss would later visit in the Spanish artist's studio during a trip to Paris in 1949). This experience prompted the South African artist to turn away from the orthodox impressionistic landscape paintings that constituted his early oeuvre to embrace the change in representational conventions he observed in the work of the European modernists. As Andries Walter Oliphant describes, '[f]or the European modernists, this change was facilitated by the non-naturalistic conventions gleaned from West African and Oceanic masks, Japanese prints and Polynesian decorative design. For Battiss, Southern African rock art was the catalyst' (Walter Battiss: gentle anarchist, 2005: p. 21). The Hunt epitomises Battiss's artistic experimentation with techniques responding to Western modernism including abstraction, perspective, and simplification of form. Inspired by his deep knowledge of the prehistoric hunting scenes represented in South African rock art, he depicts two groups of stylised figures: one forms a border around three antlered animals, while a second line of figures march across the top of the canvas. In turn, the artist's use of thick impasto to sculpt abstract forms atop the surface of the canvas evokes the formalist experimentations of Western modernism. Inspired by his interest in graffiti and Southern African petroglyphs, The Hunt also evidences Battiss's incorporation of sgraffito technique in his works of the 1960s. Scratching images through wet paint, he incises two stick figures into layers of white and pink pigment and drags a series of vertical lines through thicker points of the green impasto. Battiss's painterly investigations of the 1960s anticipate the development of his imaginary artistic construct, Fook Island, which flourished in the 1970s. He populated the imagined world with a devised material culture that draws heavily on the iconography of the same prehistoric rock art that informs the present work. The Hunt can consequently be contextualised as a key precursor to this later culmination of Battiss's unique engagement with South African visual culture. BibliographyWalter Battiss: gentle anarchist. A retrospective exhibition of the works of Walter Whall Battiss, exh. cat., Standard Bank Gallery, Johannesburg, 2005.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Abdoulaye Diarrassouba 'Aboudia' (Ivorian, born 1983)Untitled, 2016 mixed media on canvas178.5 x 182.5cm (70 1/4 x 71 7/8in).Footnotes:ProvenanceThe artist's studio, Brooklyn, NY;Acquired from the above by the present owner in 2016.Abdoulaye Diarrassouba, known as Aboudia, stands at the forefront of the landscape of contemporary art with his energetic paintings rendered in oil stick and acrylic. Born in Abidjan, the major urban centre of Côte d'Ivoire, Aboudia trained at the School of Applied Art in Bingerville before graduating from the Abidjan Institut des Arts in 2005. Aboudia recognises the influence of his experience growing up in Abidjan as central to his artistic practice. His canvases and works on paper fuse imagery drawn from the local street culture of his hometown with traditional West-African sculpture and voodoo iconography. Lines of brightly coloured oil stick articulate figures, traffic and animals atop ghostly passages of semi-opaque acrylic paint that, in places, reveal the layers of newspaper pages, magazine cut-outs, and educational materials typically pasted beneath. The gestural application of pigment and large-scale format favoured by the artist recall both the graffiti murals of Abidjan and the avant-garde formalist experimentations of artists central to the Western canon such as Cy Twombly, whose work Aboudia had greatly admired when visiting the permanent collection at the Tate Modern, London. Recognising the fusion of diverse cultural and artistic references in his work, Aboudia names his stylistic approach Nouchi – a term more typically used to describe the colloquial language spoken in urban Abidjan which blends several Ivorian languages with French. Now working between his studios in Abidjan and Brooklyn, Aboudia employs his artmaking as a vehicle to convey the experiences of the Ivorian youth following the violence of the 2011 civil war. 'As an artist, my contribution is to tell our story for the next generation. Writers will write, singers will sing. I paint' (Aboudia quoted in O'Reilly, 2011). He conceives of the figures that populate his work as representative of this next generation of children who he believes to be central to the future success of the country. Aboudia has achieved global appeal through his kinetic canvases bursting with colour. Since 2007 the artist's work has been widely exhibited in international solo and group exhibitions and is held in major collections including that of the Saatchi Gallery (London), the Nevada Museum of Art (USA), and the Jean Pigozzi Collection of African Art.BibliographyFinbarr O'Reilly, 'Ivorian artist paints as bullets whizz overhead', Reuters, 29 April 2011, online.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
THREE DIAMOND RINGS; DIAMOND STICK PIN1st: Set with five graduated old brilliant-cut diamonds, 2nd: Set with three graduated old brilliant-cut diamonds, 3rd: Set with three graduated old brilliant-cut diamonds, 4th: The stick pin set with a cushion-shaped diamond, diamonds approx. 1.60cts total, 3rd with split band, ring sizes approx. M-N, stick pin 6.0cm, stick pin cased (4)For further information on this lot please visit Bonhams.com
Inert Model 1916/17 German Stick Grenade, fine example with the original head having much of the field grey paint remaining. Belt hook attachment still present. Complete with the wooden haft and cap to the bottom. Some pitting to the head and wear to the haft but generally a good example. This lot is inert and is legal and safe to own in the UK. We are not able to offer post and packing on this lot. Please note only available to clients bidding from the UK who can arrange collection.
French Gras Bayonet, with two piece wooden grips, brass pommel and steel pommel with muzzle ring. Housed in its steel scabbard. Triangular blade with St Etienne armourer details to the spine. Accompanied by a hallmarked silver topped swagger stick with bamboo shaft and the top engraved “—(VB) R.W.K. Regt”; tribal spear with steel leaf tip, hide section and wooden haft. (3 items)
One volume "Pictures of Life and Character by John Leech form the Collection of Mr. Punch", published by Bradbury Evans & Co. Fleet Street, 4th series and one volume 1863, together with another published 1861, together with a cast iron painted stick stand set with dog decoration to base and gun and horn to back support 55 cm high together with a collection of walking sticks, one with an antler handle, one with a horn handle, another with a dog's head finial, varying sizes
An Indian white metal sauce boat with spoof marks, a plated sauce boat, Thai or Burmese white metal figural candlesticks, two Burmese or Thai embossed white metal dishes, a white metal dish set with 1991 rupee coin, three various salts/mustard spoons, a pair of sterling silver embossed dishes and a James Dixon and Sons of Sheffield silver pin dish CONDITION REPORTS The candle stick only: some of the petals are bent down and one petal is missing the tip. Remance of cleaning fluid. Other general wear and tear condusive to age and use. See images for more details.
A mahogany torchère stand with foliate decoration, raised on a bracket foot base, the top 30 cm x 30 cm x 151 cm high, together with a painted octagonal occasional table, a painted circular occasional table, stick back chair with upholstered seat, a mahogany shaped top occasional table on end pillar supports and a Victorian bar back dining chair (back cut down)
A collection of Wedgwood blue Jasperware including classical style vase on pedestal base to square foot 37 cm high, miniature Portland vase 13 cm high, three further vases various, a small lidded pot, chamber stick, two candlesticks and a candlestick base (all very damaged) CONDITION REPORTS There is only one Portland type vase in this lot, a small one, 13 cm high. There is a large Portland vase (Lot 148).In Lot 149, the small Portland vase has obvoiusly been used as a candle holder and has remnants of candle inside and various areas of wax residue. There is a firing crack to the rim and chip to the base. The amphora has loss to the horns of both goats to the side handles. Otherwise wear and tear conducive with age and use. The larger vase in his lot, 37 cm high, has damage to one handle in particular and to the foot, together with wear and tear conducive with age and use throughout. See images for further detail. All other pieces all damaged - see images, with exception of cylindrical vase which appears to be in basically sound condition. See imgaes for further detail.
A collection of jewellery and costume jewellery, to include; a Clogau stainless steel wristwatch, a small collection of loose and broken yellow metal, a cased set of six blue enamel topped hair/hat pins, a yellow metal stick pin, gilt wristwatches, two compacts etc, together with two jewellery boxes
1982 Kawasaki Z650 F2 motorcycle, registration FWD 973Y with V5C. Purchased by the vendor as a lockdown project. He has now run out of jobs required even details such as the toolkit are present. Total mileage circa 37,500 original kmh speedometer is with the bike along with a USB memory stick of the project and various receipts etc. The bike was ridden to the auction and appears to want for nothing, gaining many admiring comments whilst in the carpark in the sun.10%+VAT buyer's premium on this lot
Linnell (James Thomas, 1820-1905). Studies of a smocked farmer with a stick, black chalk and pencil, heightened with white on pale brown wove paper, vertical crease where previously folded, 29 x 45 cm (11.5 x 17.75 ins, framed and glazed, together with A collection of eight unframed drawing studies including: A portrait of a young woman, black chalk heightened with white on brown wove paper; Studies of a reaper, black chalk heightened with white on grey wove paper; Study of a male labourer and a young girl in a smock, black charcoal on olive green wove paper; A drapery study of a woman in a dress, black chalk heightened with white, entitled in pencil ‘Mrs Fuller’ lower right; A study of a smocked labourer, black chalk on olive-green wove paper; A Bonneted Peasant women harvesting, pencil on buff wove paper; A study of a young bonneted girl kneeling, pencil heightened with white on brown wove paper; and A study of a stooping, smocked boy at labour, black chalk heightened with white on brown paper, sheet size 29 x 45.5 cm (11.5 x 18 ins) and slightly smaller, all mountedQty: (9)Footnote: Provenance: Private Collection, Herefordshire, UK.Studies of a smocked farmer with a stick: with Crispian Riley-Smith Fine Arts Ltd, his label verso
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