Weronika Anna Rosa Cymbidium Kellys Winter Orchid, 2024 Gouache and pencil on cotton paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About WERONIKA ANNA ROSA (b. 1990 in Warsaw, Poland) - visual artist, painter and designer, since 2016 based in Lisbon, Portugal. Rosa grew up in a family involved in arts and natural sciences. These two distant, but strongly complementary worlds, constitute the pillar of her visual sensibility and sculpted her curiosity. Plants play a vital role in her work - they are not only subjects, but also a vehicle of meanings and emotions. Rosa uses botanical iconography to explore relations between plants and humans; botany and its connection with current socio-cultural and environmental factors. The artist captures the ephemeral matter of nature, looking into its strength and fragility, imperfections and beauty. Starting from a careful observation of plants, through botanical studies and realism, she abstractly scales the subject, bringing it closer to the size of a human body. Rosa intends to express the identity of plants by observing their essence, and by analysing their history and role in our culture. This naturalistic representation becomes a universal and metaphorical language. Rosa experiments with various artistic techniques and media to obtain diverse textures, scales and volumes, in a way to reach the observer on different sensory levels. Education 2019 Botany and Art, course at FCSH, Universidade Nova, Lisbon, Portugal 2016-2017 Bachelor's degree in Ceramics, Faculty of Fine Arts, University of Lisbon, Portugal 2015-2017 Master's degree in History of Art, Faculty of Arts, University of Lisbon, Portugal / University of Warsaw, Poland 2011-2015 Bachelor's degree in History of Art, University of Warsaw, Poland 2010 Drawing of Nature, course at the Natural History Museum of Marseille, France Solo Exhibitions 2025 Vestígios de Memórias, National Museum of Natural History and Science, Lisbon, Portugal (TBC), Cliché Gallery, Warsaw, Poland 2023 Natura Ludzka, Galeria Prześwit, Warsaw, Poland 2021 In search of Beauty, Minds&More, Lisbon, Portugal 2020 Fabric - The Master's Material (Tkanina - Materia Mistrza), Galeria Nizio, Warsaw, Poland 2019 (In)Visivel, Espaço Santa Catharina - ESC, Lisbon, Portugal 2018 Vivace, Galerie La Canopée, Lisbon, Portugal 2017 Secret Garden's Metamorphosis, Transept, Lisbon, Portugal Group Exhibitions 2024 Warsaw Art Fair (represented by Cliché Gallery), Warsaw, Poland Souvenirs from faraway places, I have never been, Ethical Assembly, Lisbon, Portugal Lisbon Design Week, Artlier, Lisbon, Portugal 2023 Planatae, annual exhibition of the Society of Botanical Artists, Mall Galleries, London, United Kingdom 2020 Gardens, Analora, Lisbon, Portugal Awards 2025 International Design Pool, artistic residency organised by Vista Alegre, Portugal Statement about AOAP Submitted Artwork What intrigues me the most in flowers are details that are often neglected or unseen with a naked eye. We need to stop and take a time to observe, in order to perceive. Despite the limitation of the postcard size, I wanted to make the flowers as monumental as possible, and to capture the dancing movements of their petals and stamens. I hope you can imagine their scent. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
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A LATE 18TH CENTURY EBONISED BRACKET CLOCK BY WILLIAM WRIGHT, SOUTHWARK, with twin fusee movement and verge escapement, quarterly strikes on six bells, hourly strike on large bell, the six pillar movement finely engraved to rear and with false pendulum, the brass arched top dial plate having silvered chapter ring with matted inner and a silvered date ring, silent / strike lever above 12 numeral and repeat pull strike cord, case of polished ebonised wood with side and rear glass panels and gilded brass frames, H 51 cm
19TH C. CIRCULAR GAMES TABLE on pillar supports and casters with sectional green top, 122cms (diam.)Comments: scuffs & wear overall, structurally sound, viewing recommendedProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
Elizabeth I (1558-1603), fine gold Sovereign or Double Noble of Thirty Shillings, sixth issue (1583-1600), full facing robed figure of Queen seated on large throne, lis headed pillar either side, throne back of pellets in hatching, three pairs of pellets alternating with large annulet upon each side bar of throne back, portcullis below Queen, tressure and beaded border surrounding, Latin legend and outer beaded border on both sides, initial mark escallop (1584-86) both sides, ELIZABETH. D; G; ANG; FRA; ET. HIB; REGINA., rev. quartered shield at centre of ornate rose, beaded circle surrounding, A. DNO. FACTV; EST. ISTVD. ET. EST. MIRAB; IN. OCVLIS. NRIS;, weight 15.50g (Hill 53 R3; Brown and Comber A12; Holloway 11-13-008 (lot 19); Schneider 781/-; N.2003; S.2529). Toned and well struck on a full flan, just a little unevenness to rim and delightfully free of surface marks, just a little softer at centre of reverse and around face, has been slabbed and graded by NGC as MS62 with an multi-generational Noble Dutch family provenance.NGC Certification 8221157-001, label highlights the coin's Dutch Family Provenance to 1722. The abbreviated Latin legend translates as on obverse "Elizabeth by the Grace of God, Queen of England, France and Ireland," and on the reverse "This is the Lord's doing and it is marvellous in our eyes," a Psalm from the Bible. The fine gold output of mintmark escallop totaled £56,562 worth from 1st February 1585 until 31st January 1587, an output which would have also included the gold Angel and its fractions. The denomination also named officially as a Double Noble passed for Thirty Shillings. Brown and Comber recorded this coin as A18 in their work on the Elizabethan gold coinage in the British Numismatic Journal of 1989. The fine gold Sovereign of Elizabeth I was a highly respected coin at the time and was famed in the acting world of the time of William Shakespeare, as the coin of choice to be honoured with should the Queen attend a performance personally. Traditionally the Queen would honour the playwright and the star of the show with her favour reflected in the presenting of a fine gold Sovereign. We have such evidence of this in the will of the Gentleman Actor Augustine Phillips of Mortlake Surrey who was one of the first to rise to such a social status in his profession. From his will dated 13th May 1605 we can see fine gold Sovereign presented described thus "I give and bequeath to my fellow William Shakespeare a XXXs piece in gould, To my fellow Henry Condell one other xxxs piece in gould." Such a coin of honour being highly revered and not to be spent in the lifetime of the recipient. Provenance: From an old Dutch family with ownership traced back to at least 1722, name to be privately revealed to successful purchaser only.
* Corkscrews. An English four-pillar rack and pinion corkscrew, 19th century, steel frame and bone handles, general age wear, together with a Thomason Patent rack and pinion corkscrew, 19th century, brass cylinder with royal coat of arms, bone handle and steel handle to the side plus other corkscrews including two French examplesQTY: (9)
Eric Morecambe's Table: an early 19th Century mahogany twin pillar D-end dining table, with leaf, approx. 247cm long x 132.5cm wide x 73.5cm high. Provenance: John McMaster, High Street, Brasted Kent, 2nd February 1974 ❧ from the Dining Room at Brachefield, Eric Morecambe's former home. Originally lot number 42 in The Eric Morecambe Collection Sale 10/01/25. Note: Please be aware that this is only the table, not the chairs or extras shown in the photo.
A Victorian mahogany compactum wardrobe, break-centre front with large arch-topped mirror door, flanked by tall panel doors on either side separated by decorative pillar supports To the interior, three adjustable tray shelves above an arrangement of graduated shelves to centre, with space for coat hangers on either end, a draw fitted to right section base, approximately 223cm height (194cm height to sides), 191cm width, 61cm depth.
* Circle of Francesco Solimena (1657-1747). Dido Enthroned, from Aeneas at the Court of Dido, circa 1720s, black chalk on early 18th century textured laid paper, backed by a transparent paper release layer, depicting Dido with a crown enthroned beside a classical pillar, with female and male attendants and putti, sheet size 52.5 x 38.5 cm (20.5 x 15.25 ins), framed and glazedQTY: (1)NOTE:A well-executed study of the figure of Dido clearly related to Solimena's large painting of circa 1739-1741, Aeneas at the Court of Dido held in the Museo di Capodimonte, Naples. A small handwritten note affixed to the back of the frame indicates that this work was at some time shown to Nicholas Turner of the British Museum.
Magic Lantern Slide of Fairbottom Bobs, Newcomen-Type Beam EngineStandard squate magic lantern Slide, label in script reads '200 Fairbottom Nr Oldham', slide shows a very clear image of the Newcomen-type steam engine, used in the 18th century as a pumping engine to drain Fairbottom's colliery near Ashton-under-Lyne.Footnote:Fairbottom Bobs is a Newcomen-type beam engine taht was installed around 1760 or 1764 at Cannel Colliery in Fairbottom, near Ashton-under-Lyne, England. Its primary function was to pump water from the colliery, featuring a 28-inch (71 cm) bore cylinder with an 8-foot (2.4 m) stroke, capable of raising water from a depth of 240 feet at 14 strokes per minute.The engine's design included a single wooden king post beam with wrought iron straps and wooden arch heads at each end, supported by a dressed stone pillar. Notably, there was no engine house or roof to protect it from the elements.Beyond draining the colliery, Fairbottom Bobs contributed to maintaining water levels in the Ashton Canal by discharging into the Fairbottom Branch Canal at Fennyfield Bridge. After the colliery ceased operations in the 1820s, the engine continued to function until its abandonment in 1826 or 1827.In 1927, Henry Ford acquired the engine for preservation. It was dismantled and reassembled at the Henry Ford Museum in Dearborn, Michigan, where it remains on display as a significant artifact of early steam engineering.
City of Nottingham Substantial Floor Balance With Reliving Gear,English, beam & pans dated 1911 but stand older c.1880, stand engraved to both sides at top 'DE GRAVE & CO MAKERS LONDON ', the beam engraved ''CITY OF NOTTINGHAM, CAPACITY 56LB, DE GRAVE & CO MAKERS LONDON', raised on a stepped pine base with large iron footpedal to raise the beam, from the drgrave catalogue of 1900:'For use in suspending 56-lb. and 100-lb. beams, and is to be preferred to a tripod for indoor use, as by the use of this stand the pans are held steady during loading and there is no unnecessarywear of the knives and bearings, and also weighings are executed more quickly and accurately.The pillar is of polished brass, mounted on strong well-made wood pedestal, the apparatus being both effective in action and of handsome appearance'110cm wide x 172 tall x 58cm deep (inc pedal)Postage: due to the size and weight of this item, Flints will not be able to offer postage or shipping. Please contact Oxford Pack & Send for a quoteBUYER BEWARE: WE CANNOT SHIP THIS LOT, COLLECTION OR OWN COURIER
Nottingham Trading Standards 4oz Laboratory Scale,English, c.1905, engraved to the base of the pillar 'DE GRAVE & CO, LONDON' and to the beam 'CITY OF NOTTINGHAM' in a fitted French polished glazed cabinet with fitted drawer, raised on 3 screw feet, scale pans with multiple exchequer stamps, case width 49cmBUYER BEWARE: WE CANNOT SHIP THIS LOT, COLLECTION OR OWN COURIER ONLY!
A Fine 19th Century Indian Photograph Album, 32 Albumen PrintsThe album constructed of a light close gran wood with a dark wood veneer to the front with a white overlay (ivory inconclusive very uniform white showing no grain but does not test positive for celoloid) with ivory geometric design to inside of cover and to rear, album with yellow end paper, card pages with manuscript descriptions to a32 albumen prints of a trip to India, starting with images of Gibralta, Malta, Port Said with pencil inscription reading 'Mid 1871 'Port Said' Panorama, photo Hippolyte Arnoux, one of the earliest photographs of the Suez Canal opened 17 Nov 1869, Ref: the photo historian Royal Photographic Society, No.191 Winter 2021' , Suez Canal, ismalia, Suez, Aden, Bombay Harbour, University of Bombay, Cathedral Bombay, Elphinstone College Bombay, Francis Frith*, Victoria Museum & Clock Tower Bombay, Bao Malung Hills - Matheran, Matheran, Reversing Station - Khandalla, Marble Rocks Jubbulpore, Memorial Well, The Residency, Francis Frith, stamped 'Frith's Serise' **, Taj Agra, Entrance to Taj, Sikundra, Fettehpore Sikri, Tomb of Humayan Delhi, Jumma Musjid Delhi, Kutub Minar Delhi, Iron Pillar at Kutub Minar, bathing ghats benares, burning ghats benares, Mount Abu, album 23cm x 31cm* image by Francis Frith, see: https://collections.vam.ac.uk/item/O214701/elphinstone-college--byculla--photograph-francis-frith/** image by Francis Frith, see: https://collections.vam.ac.uk/item/O216385/lucknow--residency-ruins-photograph-francis-frith/Footnote: This lot contains ivory and has been registered in accordance with the Ivory Act (Section 10), Ref.KJ99FV7ZFlints Auctions CANNOT ship this item out of the UK, Please contact pack and send or mailboxes
Christopher Gould of London gold pair cased pocket watch with alarm, steel beetle and poker hands, black Roman numerals, signed self coloured dial, pierced and engraved inner case, studded decoration to the leather and gilt metal outer case, signed pierced and engraved fusee movement and five shaped pillar supports, case diameter 58mm, serial number 951.
A George III mahogany bracket clock, Thomas Grinnard No 180 High Holborn, c1780, the break arched brass dial with matted centre, silvered date aperture, signature cartouche and chapter ring, STRIKE/SILENT ring to the arch, with rococo spandrels, the figured case with swept pagoda top and brass mounts, the eight-day five pillar movement with verge escapement, bob pendulum, pull repeat and engraved back plate, 53cm h including handle In essentially good condition, having been overhauled/restored in the last century, the brass finials and feet replaced, rear door lacking two glass spandrels, the other glazing door present, hinges original
A collection of signed Stuart Francis books, comprising: The Coloured Dome, first edition, signed by the author Stuart Francis September 1996, black cloth, dust jacket, London: Victor Gollancz Ltd, 1932; Glory, first edition, signed by the author Stuart Francis September 1996, black cloth, dust jacket, London: Victor Gollancz Ltd, 1933;Try the Sky, first edition, signed by the author Stuart Francis September 1996, black cloth, dust jacket, London: Victor Gollancz Ltd, 1933;Pigeon Irish, first edition, signed by the author Stuart Francis September 1996, black cloth, dust jacket, London: Victor Gollancz Ltd, 1932;The White Hare, first edition, signed by the author Stuart Francis September 1996, green cloth, pictorial dust jacket, London: Collins, 1936;The Flowering Cross, signed by the author Stuart Francis September 1996, green cloth, London: Victor Gollancz Ltd, 1950;The High Consistory, first edition, signed by the author Stuart Francis September 1996, blue cloth, dust jacket, London: Martin Brian & O’Keeffe, 1981;The Great Squire, red cloth, pictorial dust jacket, London: Collins, 1939;Women and God, first edition, For Nain from Francis September 1996, orange cloth, pictorial dust jacket, London: Jonathon Cape, 1931;In Search of Love, first edition, signed by the author Stuart Francis September 1996, orange cloth, pictorial dust jacket, London: Collins, 1935;The Pillar of Cloud, signed by the author Stuart Francis September 1996, softcover, Dublin: New Island Books, 1994; Together withGeoffrey Elborn, Francis Stuart: A Life, signed and inscribed by the author, Dublin: Raven Arts Press, 1990 (12)
A George III inlaid mahogany balloon shaped bracket clock, by James McCabe, London, late 18th / early 19th century, surmounted by a pagoda top with brass finial above fretwork fish scale panels, with crossbanding and urn and scrolling foliate marquetry, on plinth base with brass bracket feet, the painted dial with Roman numerals, indistinctly signed James McCabe LONDON to centre, the five pillar twin fusee movement striking on a bell, with repeating mechanism, the backplate signed James McCabe London within engraved border, with associated winder, lacking pendulum, 64cm highProvenance: The Late Sir Chips Keswick.Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.
A George III oak longcase clock, late 18th century, the pagoda top with pierced brass scrolling foliate panel above brass capped pillars, the trunk with canted edges flanking a shaped and moulded door, on plinth base with bracket feet, the break arched dial with silvered chapter ring with Roman and Arabic numerals, the dial centre with seconds subsidiary dial and scrolling foliate urn engraved decoration, the arch with plaque signed Pridgin HULL, the twin train four pillar movement striking on a bell, with weights and pendulum, approx. 232cm highNote: A clockmaker named William Pridgin is recorded as apprenticing in 1756 to William Thornton of York, q.v., working at Hull (Yorks) 1768-71, 1787, then Coney Street, York, 1793. Dissolved partnership with J. B. Carlill in 1800. Believed also had a shop at Hull (Yorks) c. 1768-97 - Loomes, Brian, Watchmakers and Clockmakers of the World, Complete 21st Century Edition, N.A.G. Press, 2022, p.629.Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.
A George III ebonised table clock, by Matthew & Thomas Dutton, London, late 18th century, the break arch case surmounted with brass carrying handle on three moulded rectangular pads, above arched brass fish scale panels to sides, on moulded base and cast brass squab feet, the break arch silvered dial with Roman and Arabic numerals, signed Mattw & Thos Dutton London to centre above date aperture, the arch with N/S strike selection switch and subsidiary rise/fall regulation adjustment dial, the four pillar twin fusee movement striking a bell on the hour, the backplate with corresponding signature, with pendulum, 38cm high (excluding handle)Note: Matthew and Thomas Dutton are recorded as working in London 1799-1804, Loomes, Brian, Watchmakers and Clockmakers of the World, Complete 21st Century Edition, N.A.G. Press, 2022, p.234. Matthew Dutton's father, William (working 1746-94), was apprenticed to George Graham in 1738, and was an important maker who in went into partnership with Thomas Mudge at Fleet Street in 1755, later succeeding him in 1771 after Mudge departed London for Plymouth to concentrate on his work on marine chronometers. Matthew worked with his father until 1794 then went into partnership with his brother, Thomas until 1802, and with his son Matthew from at least 1815 until his death in 1825. Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.
Registration – JVJ 605Chassis No. – GS4705338M.O.T. – ExemptOdometer – 70,000Perfectly glorious in pale green, this example of Austin’s A40 Somerset is presented in good fine condition and offered at no reserve. ‘JVJ 605’ is powered by Austin’s 1.2-litre B-Series straight-four engine, driving the rear wheels through a four-speed manual gearbox. The bodywork, in its green-blue Sky Blue tone, looks fantastic, with a number of chrome highlights matching the era. Inside, the colour scheme continues, with cream door panels and seats, and body-coloured dashboard.The vendor describes the underside as ‘very clean and tidy’, with ‘everything working as it should’, and rates the engine and bodywork as ‘average’, while the transmission, electrics, and interior are considered ‘good’, with the paintwork requiring attention in a few places. The odometer reads an indicated 71,202 miles, with just 11 owners in the vehicles more than 70 years on the road. ‘JVJ 605’ is offered for sale with original Austin owner’s manuals and is considered by the seller as a ‘nice little car with a really nice interior’.· Offered at no reserve· Cherished example of Austin’s A40 Somerset· Low mileage model for its ageAustin’s A40 Somerset entered service in 1952, replacing the A40 Devon and A40 Dorset models which launched five years earlier. Using a number of the Devon/Dorset’s components, the A40 Somerset featured the same 1.2-litre four-cylinder engine as before, as well as other mechanical components, but featured overhauled styling, with a ‘transatlantic’ body style making the design more modern, inspired by American models. Offered initially as a four-door saloon, a convertible – the A40 Somerset Coupe – was produced later, with the roof able to be folded back completely, or to the B-pillar, and built by Carbodies of Coventry. The A40 Somerset survived until just 1954, when it was replaced by the far more modern-looking Austin Cambridge.
Collection of British Postbox-Themed Novelty ItemsThis group features four miniature novelty items inspired by classic British red pillar postboxes, showcasing varied uses and designs:1. **Ceramic Postbox Replica**: A compact ceramic model with a red glossy finish on a black base, featuring "COLLECTION" with times "AM: 9:30" and "PM: 5:30" above an embossed "POST OFFICE." Designed in traditional postbox detail, it includes a narrow posting slot and embossed royal designs.2. **Royal Mail Postbox Money Box**: Enclosed in clear plastic packaging displaying "Royal Mail" and "MONEY BOX." The red model features "E II R" with a crown and "POST OFFICE" in gold. The collection schedule is displayed on the front, likely dating the piece to Queen Elizabeth II's era (1952–2022). Manufactured from ceramic or resin.3. **Union Jack Die-Cast Money Box**: A die-cast postbox model presented in Union Jack-themed packaging. It integrates a collection schedule, "AM: 9:00" and "PM: 5:00," echoing British cultural motifs aimed at the souvenir or collector's market.4. **Postbox-Themed Teapot**: A red ceramic teapot with a posting slot design and a black base. Features two decorative ceramic teddy bears, one marked "June 2024." Likely created as a novelty or collectible piece.These items celebrate British postal heritage, appealing to collectors of memorabilia and themed novelties. Likely dating to the late 20th or early 21st century, they reflect varied craftsmanship and uses, including souvenirs, money boxes, and decorative kitchenware.
A MAHOGANY EIGHT-DAY LONGCASE CLOCK G. AND T. HAMMOND, MANCHESTER, MID 19TH CENTURY The four pillar rack and bell striking movement with anchor escapement regulated by wood-rod seconds pendulum and 13 inch circular white painted Roman numeral dial with subsidiary seconds and signed G. & T, Hammond, Manchester to centre, the case with open shallow arch pediment over engraved brass plate inscribed PRESENTED TO THOMAS WYATT OF BOLLINGTON, Together with a sum of money making the cost of this Clock, the sum of, FOUR HUNDRED POUNDS, raised by PUBLIC SUBSCRIPTION, as a reward for the gallant part he took in the capture of two armed HIGHWAYMEN, in Shrigley, on the 11th Feb'y. 1848, when he was himself shot through the arm, And his, Brother, WILLIAM WYATT, of ADLINGTON, fell mortally Wounded., applied to the throat, with rectangular glazed door flanked by corner columns to trunk beneath over raised panel fronted plinth base 219cm high, 54cm wide Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW. Movement is complete with no visible evidence of alteration or noticeable replacements. The mechanism is in working order however it is somewhat dirty/oily so a clean and overhaul is required. The dial retains original finish with overall light wear and a few minor surface defects; the minute hand is missing. The movement retains its original seatboard resting on unaltered uprights (cheeks) of the case confirming that the movement and dial are original to the case. Case is lacking lock from the trunk door otherwise is in sound original condition with faults very mich limited to minor bumps, scuffs, shrinkage, wear and other blemishes commensurate with age.Clock has pendulum and two brass-cased weights but no case key or winder.ADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot. Condition Report Disclaimer
Naudé, Henri (French, 1859-1941); b. Brégnier-Cordon, and Arthus-Bertrand (Paris, 1803-present) FRANCE, Le Journal, c. 1895, an Art Nouveau bronze award medal by H. Naudé for Arthur-Bertrand, robed female seated on pillar adjacent to telegraph wires, casting papers from her right hand over a townscape, rev. wreath, named (Concours de Bébés, Léon Kochnitzky), 56mm, 88.12g. About extremely fine £40-£50 --- Léon Kochnitzky (1892-1965), musicologist and man of letters. Le Journal, the Paris daily newspaper founded and edited by Fernand Arthur Pierre Xau (1852-99) in 1892
A large 19th Century Scottish mahogany cased Grandfather Clock, the hood with breakneck pediment over brass and silver dial with arabesque and roman numerals and painted moon phase, flanked by turned pillar, above a trunk with 'love heart' panelled door, on a box base with bracket feet, approx. 239cms high x 66cms wide (94" x 26"). (1)
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