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Lot 336
Glazed china Pierrot and Flapper dressing table powder dish, 1920s, seated Pierrot in white suit with black pom-poms and edging, supporting legged powder dish, painters mark, powder puff with nude Flapper half-doll with black bobbed hair with blue band and outstretched raised arms, 7 ½” (19cm) high.
Lot 356
Collection of glazed china dressing table figurines, 1920s, full figure seated pin-cushion flapper in pink dress on frilly material base, impressed 8052, 4 ¾” (12cm) high, Twenties lady half-doll with outstretched arms on pin cushion, base impressed 12727, 9” (23cm) high, nude wide-eyed half-doll with hands clasped under her chin on pin-cushion, base impressed 9654, 3 ¾” (9.5cm) high, lady laying on her front with legs rising our of blue skirt tray, 4 ¼” (10.5cm) high, seated lady holding skirt shaped dish, 2 ¾” (7cm) high, powder puff reclining lady with hands behind her head, legs in the air for holding puff, impressed 3282 and stamped Bavaria, 4 ½” (11.5cm) high (6 items).
Lot 286
Pair of glazed china Nude Fapper half-dolls, first with dark brown bobbed hair, finely painted features and gold earrings, arm bands and bracelet, elongated outstretched arms and holding a cloth flower, impressed 670, 5 ½” (14cm) tall, together with a Flapper holding a fan, with black hair and finely painted features, gold earrings and necklace, impressed 8669, 5 ½” (14cm) tall, (2 items).
Lot 293
Three larger size glazed china half-dolls, lady holding a rose, with plumes and moulded flowers to her hair, low cut bodice with hand painted flowers, outstretched arms holding rose in right hand, restored break to right arm above elbow and fingers to left hand, impressed 9787, 6” (15cm) tall, together with a grey haired lady wearing blue cap with white pleats, and blue top with maroon painted trim, outstretched arms, small chip to cap, 5 ¼” (13.5cm) tall and a nude lady with tray with finely painted features and pink cap with yellow pleats, lacks items to tray, 5 ¼” (13.5cm) tall, (3 items).
Lot 298
Four larger size bisque nude half-dolls, lady with blonde wig, finely painted features, long separated arms jointed at shoulders, impressed Germany 3648, 6 ¼” (16cm) tall, two similar both with jointed arms and a Goebels masquerade nude with moulded black mask and beauty spot, restoration to left hand, (4 items).
Lot 305
Seven glazed china Flapper half-dolls, including two nude ladies with outstretched arms and finely painted features, one wearing mauve hat and tan gloves, other with heavy eye expression, 45 ½” (11.5cm) tall, together with a seated lady half-doll another in dancing pose with orange top outstretched arms and three others, (7 items).
Lot 592
B. PRABHA (1933-2001)Untitled (Two Boys)signed and dated 'B. Prabha, 1965' (upper right)oil on canvas56 x 38 inProvenance: Philip Richardson, Esq, Arundel, Sussex (by c.1990);Thence by descent Philip Richardson travelled to India and had a wide circle of Indian friends and contacts both there and in the UK. He met Prabha in person on at least one occasion, and may very possibly have acquired this painting direct from the artist. Badgelwar Prabha (better known as B. Prabha) began her career when there were few other leading women artists in India. Working in the 1950's and 1960's when post-independence India was in the throes of dynamic change and upheaval, Prabha utilised her unique position as one of the very few professional artists to become a medium for strong social commentary on poverty and inequality in Indian Society. She studied at the Nagpur School of Art and afterwards at the Sir J. J. School of Art, Mumbai. Soon after she married the artist and sculptor B. Vithal. Two years following that she exhibited at the Bombay Exhibition of 1958, where she won first prize. She followed that up with two solo shows at Delhi's Kumar Gallery in 1959 and 1961.Prabha had come to Bombay as a financially struggling artist, and is said to have initially sold pieces of family jewellery to raise funds. At that time she and her husband were living in a dilapidated house at Worli Naka. Their first month's rent and Prabha's paints allegedly being purchased from Vithal's first ever commission fee which he received for helping sculpt a statue of Vallabbhai Patel. Prabha's first break through came when three of her paintings were purchased by the eminent Indian scientist Homi J. Bhaba.Prabha embraced a bold, modern Indian aesthetic. She developed a style which became well known for her characteristic images of elongated pensive figures on canvases, executed in a single dominant colour. Over the years, her penchant for simplicity, perhaps to counter the myriad complexities of life, led her to develop a characteristic, elegant style that came to be instantly recognisable. Her refined aesthetic language, defined by elongated, graceful lines and figures, always guided and informed her works.The writer Shirin Bahadurji wrote of Prabha's paintings "Her figures have a haunting presence as if caught in a rare moment of stillness and silence- a single second stolen out of the bustle of daily living'' Prabha claimed that 'she was more at ease with the female form, painting men only in large murals where they blend into the backdrop'. The subject matter of her work often centred on the rural and urban poor. She was particularly concerned with the issues of hunger, homelessness and the subservient role of women in Indian life. In 1965 she executed a 'hunger' series of fourteen paintings that depicted the slums of Bombay and the 'shattered dreams of the hutments'. For three other figurative paintings by Prabha dateable to 1965, cf. Christies's, New York, March 8th 2008, Lot 22; Sotheby's, London June 16th 2009 lot 43; and Christies's London June 11th 2008, lot 76. The Brightwell's example with, unusually for Prabha, all nude sitters, has certain compositional similarities with a later 1982 work by the artist sold at Artiana Auctions, Dubai, 13th October 2016, Lot 5. That work also depicted a double portrait (of two Indian Girls wearing Saris) featured against a largely opaque background.
Lot 701
Erotica. A quad poster 'Come Play With Me' and 'Come Play With Me II', The Naughty Nurses Are Back Together! Starring Mary Millington and others, The Manual of Nude Photography, Vivat Vamp! The Maxim Book of Erotica., Michael Colmer Calendar Girls., Patrick Lichfield. Creating The Unipart Calendar., The Alternative WI Calendar, five soft back books by Jonathan May and Timothy Lea, and three packs of nude playing cards. (15)
Lot 413
Sale Item: SMALL PICTURE NUDE LADY (AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%
Lot 308
A LARGE JAPANESE CLOISONNE ENAMEL PLAQUE IN THE STYLE OF ANDO JUBEI (1876-1953) MEIJI PERIOD, 19TH/20TH CENTURY Depicting a full moon on a dove-grey ground appearing from behind clouds, the scene subtly rendered in musen shippo (wireless) enamels, signed and with two red seal marks for Maruyama Okyo (1735-1795), the reverse with a pattern of V-shaped wires, 52cm x 36.6cm. Provenance: from the collection of Reverend Victor Farmer (1898-1977) and thence by descent. This large plaque features the complex technique of musen shippo or wireless cloisonn? enamels. Developed by the artist Namikawa Sosuke and his Shippo Kaisha studio in the late 1870s, the wireless technique allowed artists to create soft pictorial effects such as this diaphanous night scene. Many other artists, including those of Ando Jubei's studio, copied this style of cloisonn? by using a variety of methods. One approach was to temporarily attach the wires and remove them once the enamel powders had been applied before firing. Another method was to hide wires under subsequent layers, and a third was to dissolve the wires with sulfuric acid and fill the gaps with a final layer. In all cases the enamels had to be ground flat several times to create a smooth surface for the next layer to be applied; this would have been a time-consuming and painstaking process. Cloisonn? makers only rarely created grey monochromatic pieces and even fewer featured designs from Edo-period painters. Although this plaque doesn't bear a mark for the cloisonn? maker, it features the signature of the famous painter Maruyama Okyo (1735-1795). Okyo is commonly regarded as one of the greatest artists of 18th century Japan. Coming from a humble farming background, he made his way to Kyoto where he found work painting faces on dolls. Okyo then discovered optical devices featuring pictures with a European perspective, and from there grew his interest for Western paintings. His style developed to offer a unique marriage of Japanese aesthetics, traditional Chinese influence and Western naturalism. Okyo founded the influential Maruyama School of painting, encouraging his students to sketch from life, himself drawing nude figures in varying poses and superimposing clothes afterwards. His art grew enormously popular with the public and the Imperial court from which he would get many important commissions.
Lot 1544
Joanne Brogden (1929-2013) 'MY DRAWING OF HIMSELF'; 'THE MODEL AND ARTIST WITH SCARVES'; 'SEATED NUDE'; 'DRAWING MYSELF'; 'PAPER HAT'; 'FRED DRAWING'; 'HANDS AND KNEES'; And two other untitled, in total nine charcoal drawings, seven either signed or signed with initials largest 36 x 43cm (7)
Lot 44
SIEW HOCK MENG (SINGAPOREAN, B.1942) - RECLINING NUDE Oil on canvas, laid on board Painted in 1991 57cm high x 72cm long, with frame >> Additional photos and condition report available on request About the artist: Despite low profile and infrequent exposure, Siew Hock Meng’s work is highly regarded in the art circle and is much sought after in the region for his forte in pastel works, oil portraiture and allegorical painting imbued with complex mood and nuanced sensuality. His paintings enjoy especially strong patronage in Indonesia and Taiwan where he often spent months painting on commission. Siew completed a year of study at the NAFA. Wanting to learn more about the meaning and purpose of art and life than merely how to paint, he started to read aesthetics and philosophy. To find more time to read he abandoned art and went to work as a rubber tapper in Pengerang in Johore and then Kemaman (Trengganu). In Kemaman, his reading led him to Marxist-Leninist literature which he found more appealing than anything he had read. He became interested in politics and joined Labour Party and was an activist making banners, posters and cartoons until the party disbanded a few years later. The experience then contributed immensely to the rich philosophical leanings that continue to underpin his art today. Siew creates works that are imaginative and thought-provoking, always challenging the viewers to dig deeper into his artistic motivations. His nudes are seductively sensuous often evoking a mystic eroticism especially as characters in legends of Southeast Asia. His keen observations and personal reflections are especially poignant in the many thoughtful and contemplative landscapes of Singapore and other places he has visited.
![*4x Vintage Japanese Sake Cups Hidden Erotic Nude Pictures Very Rare- (Lot Subject To VAT) [LQD100]](https://cdn.globalauctionplatform.com/476b4c44-f488-4fdd-ab25-aaef00a8f28d/edc35ca9-d9a4-4274-9b94-aaff01180999/468x382.jpg)
Lot 596
* ALEXANDRA (SANDIE) GARDNER (SCOTTISH b 1945), THE ROSE oil on canvas, signed 150cm x 85cm Framed. Note: A large and very special exhibition centrepiece work. Alexandra (Sandie) Gardner studied at Glasgow School of Art under David Donaldson from 1963-1968 and lectured there until 1988. She has won many awards and her highly individual paintings encompass a remarkably wide range of subjects - still life, figure and portrait studies, the nude, landscape, moody bars, diners, restaurants and barber shops.
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