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Preisdatenbank abonnierenJay Strongwater, United States. Gilt metal Nativity creche with a marbled stone base. With polychrome enamel. Stamped along the underside. With the original packaging.Height: 9 1/2 in x width: 15 1/2 in x depth: 10 in. />Condition: The peak of the roof is slightly bent; there are cracks to the enamel along either side. Light wear including some scratching to the marble base. Light wear to the original packaging. All screws and screwdrivers are included.
Andre Derain (French, 1880-1954) for Ascher, United Kingdom. Screenprinted silk scarf titled "The Lovers - Boy and Girl," produced in 1947. Designed by Derain, it depicts two naive figures, a boy and a girl, along with a dog. Signed in the print by Derain and Ascher along the lower right corners of the image and the scarf. From a limited edition of 500.Sight; height: 31 1/4 in x width: 32 1/2 in. Framed; height: 32 1/4 in x width: 33 1/4 in. />Condition: There are no visible rips, tears, losses, stains, or restorations. The colors appear to by slightly muted and have possibly faded with age, though it may original to the artistic production. There are a few horizontal creases throughout the work, most visible under a raking light. There is a partially visible pencil inscription along the lower right corner, covered mostly by the frame. Wear to the frame; framed under plexiglass; scratches and some accretions throughout the plexiglass; not inspected out of frame.
May & Vieve Hamilton Pottery for Vernon Kilns, United States. Orange pottery vessel titled "Spheres No. 4" in the form of a banded sphere, ca. 1930s. Stamped along the underside. Diane May Stuart Hamilton de Causse (1886-1971) and Genevieve "Vieve" Bartlett Hamilton Montgomery (1887-1976) were two sisters known for their modernist sculptures and designs. With the guidance of their mother, they rose to prominence as early female potters in the United States.Height: 5 x diameter: 5 in. />Condition: No chips, cracks, losses, or restorations. Very light wear throughout; a few light scratches across the body of the exterior. Wear to the footrim.
Jay Strongwater, United States. Gilt metal figurine in the form of a shepherd boy carrying a lamb on his back. With polychrome enamel and applied Swarovski crystals. Stamped along the underside. With the original packaging.Height: 4 3/4 in x width: 2 1/2 in x depth: 1 1/2 in. />Condition: There are no breaks, losses, bends, or major wear. One of the Swarovski crystals along the lamb is slightly loose. Light wear to the original packaging.
Warren Mackenzie (American, 1924-2018). Studio pottery ceramic stamped bowl with wax resist decoration. Stoneware with a celadon glaze. Stamped along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 2 1/2 in x diameter: 8 1/2 in. />Condition: There are no visible chips, cracks, or losses. There is light wear to the footrim, as expected from age and use. There are no visible signs of restoration under UV light.
Rod Massey (American, b. 1949). Oil on panel painting titled "Spring Scene East 56th St." depicting homes and melting snow, 2006. A figure in a red jacket stands in the yard inspecting the spring melt. Signed, titled, and dated on a label affixed to the verso. With a label from Groveland Gallery, Minneapolis affixed to the verso.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Sight; height: 27 1/4 in x width: 34 in. Framed; height: 28 1/4 in x width: 35 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Dale Chihuly (American, b. 1941). Set of two "Persian Forms" handblown glass. With a spiderweb design in turquoise vibrant green and blue. Rimmed in bright red. One scalloped bowl and one curling glass form with a bulbous body and long, sinuous neck. The curling glass form has an etched signature and is inscribed "pp01" along the pontil. They are able to be nested together in a variety of unique ways.Lot Essay:Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly first fostered the collaborative method of glassblowing he had witnessed in Italy at Pilchuck, something that would become a hallmark of his artistic process.(Large) Height: 5 1/2 in x width: 10 1/4 in x depth: 10 1/2 in. (Small) Height: 4 1/2 in x width: 9 1/2 in x depth: 3 in. />Condition: There are no chips, cracks, losses, or restorations. Very light wear throughout, mostly along the pontil.
Irina Zaytceba (Russian, b. 1957). Whimsical porcelain figural vase in bright colors with two sinuous handles in the form of arms.Height: 8 1/2 x diameter: 4 1/2 in. />Condition: There are no major losses, chips, or restorations. Very light wear throughout, mostly along the underside. There are two pieces of tape affixed to the underside.
Gregory Conniff (American, b. 1944). Silver gelatin photograph titled "Near Northfield, MN (Farmyard)" depicting a country field in rural Minnesota, 1985.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 12 1/4 in x width: 16 1/2 in. Framed; height: 20 3/4 in x width: 24 3/4 in. />Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. The emulsion appears to be smooth and great. To the upper right quadrant, there is a minor foxing began to form. Along the upper margin of the image, there are minute, shorter than 1/8 in, vertical black line marks that are original from the developing process; however, they are not visible at arm length and do not affect the overall appearance. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Kopel Gurwin (Israeli, 1923-1990). Mid-century Modern felt Judaica wall tapestry titled "For Everything It's Season" depicting two figures in blue surrounded by autumnal leaves in reds and yellows. The figures are surrounded by a wreath of Hebrew in light blues. Signed in Hebrew script. The quotation, which gives the title of the work, is from Ecclesiastes. The popular song "Turn, turn, turn" was also from this quotation. Gurwin was one of the best-known artists of appliqued wall hangings.Height: 69 in x width: 69 1/2 in. Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Claude Faivre (French, 19th c.) after Gerard ter Borch "Gerard Terburg" (Dutch, 1617-1681). Etching on laid paper after the ter Borch painting titled "Young Lady at her Toilet" depicting three figures in a bedroom with a small dog, 1883. Signed in plate by Faivre along the lower right. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 17 3/4 in x width: 12 1/2 in. />Condition: The sheet is lightly toned and there is a light undulation to the sheet. There is a light crease along the upper left corner. No tears, losses, or restorations. Light wear to the deckled edges. The number "86" is written in pencil along the upper right. Not framed.
Dewey Albinson (American, 1898-1971). Oil on canvas painting titled "Spires of God" depicting the Cathedral Spires in the Needles of the Black Hills of South Dakota, 1929. Signed and dated along the lower right.Unframed; height: 30 1/4 in x width: 34 in. Framed; height: 36 3/4 in x width: 40 1/2 in. />Condition: The colors are bold and bright and the surface is stable. There are a few small areas of inpainting along the extreme margins of the upper edge. The gridlines are visible throughout the work. Some paint accretions throughout the verso, likely original to the artistic process. Light wear to the frame.
Jay Strongwater, United States. Pair of gilt metal figurines in the form of palm trees. With polychrome enamel and applied Swarovski crystals. Stamped along the underside. Each with the original packaging.(Each) Height: 12 in x width: 6 in x depth: 6 1/4 in />Condition: There are no breaks, losses, bends, or major wear to either tree. Light wear to the original packaging of both.
Yaacov Agam (Israeli, b. 1928). Hologram op-art 'Agamograph' titled "In Deep Prayer" from the "Tefila Suite," 1991. Pencil signed along the lower right; numbered 33/99 along the lower left. The holography allows the viewer to experience a different image from multiple angles.Sight; height: 14 1/2 in x width: 13 1/2 in. Framed; height: 22 in x width: 21 in. />Condition: The colors are bold and bright. There is a horizontal crack approx. 2 1/2 inches in length extending from the center of the left margin outwards; visible in the lot listing. A few light surface marks. Some light wear to the plexiglass and frame; not inspected out of frame.
Studio of Joshua Reynolds (English, 1723-1792). Oil on canvas painting titled "Venus and the Piping Boy (Nymph and Boy)" depicting a nude Venus resting on a sumptuous cloth while a boy plays a pipe for her, ca. 1787. This painting after an original by Reynolds in the Polesden Lacey collection.Provenance: New Orleans Museum of Art; Christie's New York, "The House Sale," February 1-2, 2005, Lot 105; Private Collection; Bonham's, "Capital Style: Two London Collections," October 4, 2017, Lot 184; Private Minnesota Collection.Exhibition: Probably at Columbus Gallery of Fine Arts, "35 Portraits by Joshua Reynolds and His American Contemporaries," February 1958.Unframed; height: 51 in x width: 41 in. Framed; height: 52 1/4 in x width: 42 1/4 in. />Condition: The painting has been restored. There are areas of inpainting throughout that fluoresce under UV light. The largest of these areas is throughout the upper left quadrant. Craquelure throughout the painting. There is a large patch along the verso, visible in the lot listing. There is another smaller repair along the verso. For condition photos of this lot please see the following link: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0
Jan Hendrik Weissenbruch (Dutch, 1824-1903). Oil on canvas painting depicting a riverside landscape. A shepherd guides sheep along the riverside while a sailboat skims by the windmill-dotted landscape. Signed along the lower right.Unframed; height: 26 in x width: 40 in. Framed; height: 31 1/2 in x width: 45 1/4 in. />Condition: There are no noticeable large losses or tears. Due to a thick and uneven varnish, there are areas where it is not possible to discern if there is in-painting. Some wear and small losses along the extreme edges of the canvas, likely from rubbing from a previous frame. Craquelure throughout the painting. There is a paper tape around the edges of the verso; one corner of this tape has been removed to allow for inspection of the canvas. Light wear to the frame; there is a black overspray along the paper tape along the verso, visible in the lot listing. Please follow this link to see condition photographs of this painting: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0
Henry Moore (English, 1898-1986). Etching on paper print depicting a figural group. Pencil signed along the lower right; numbered 40/50 along the lower left.Sight; height: 5 3/4 in x width: 8 1/4 in. Framed; height: 12 3/4 in x width: 15 in. />Condition: No visible rips, losses, or restorations. There is matburn along the perimeter of the image. Light wear along the deckled edges. There are two pieces of tape from previous framing along the verso along the upper right and left corners (total of 4 pieces). There is tape residue along the entire upper edge along the verso. The artwork is hinged to the matboard with two pieces of clear tape along the verso. Pencil inscription ("G0778") along the verso. Some small spots of foxing along the verso that do not appear to affect the overall appearance of the recto. Framed under glass; light wear to the frame.
Rene Lalique, France. Pair of two small "Chamois" cut and frosted crystal glass vases. Depicting two rows of ibexes. Originally designed in 1931. Each etched with maker marks along the underside.(Each) Height: 5 in x diameter: 3 3/4 in. />Condition: No visible chips, cracks, or losses. Very light wear throughout, mainly along the underside.
Jan Van Chelminski (Polish, 1851-1925). Oil on panel equestrian painting depicting Napoleon Bonaparte seated on a white horse. Signed along the lower left. With a label from Juhl Importing Company indicating a cleaning in April 1963. The panel with an impressed stamp reading "G. Rowney & Co. Prepared Mahogany Panel London 52 Rathbone Place."Sight; height: 15 1/2 in x width: 10 3/4 in. Framed; height: 18 1/2 in x width: 13 3/4 in. />Condition: The colors are bold and bright and the surface is stable. Due to a thick varnish, it is impossible to discern any restorations, if present. Areas of craquelure throughout. Some wear along the extreme edges. Light wear to the frame.
Vladimir Shagin (Russian, b. 1942). Oil on canvas painting titled "Evening," depicting a city at night, 1977. Painted with bold brushstrokes and thick paint that catches the light to emulate tree park and grasses.Unframed; height: 16 3/4 in x width: 22 1/4 in. Framed; height: 21 1/4 in x width: 27 in. />Condition: The item is in good condition with no visible tears, creases, or major losses. There are minute losses along the extreme edges of the canvas against the frame. The surface is stable, and the color is bold and bright. No visible sign of restoration. Light wear to the frame.
Mottahedeh & Company, New York, USA. Set of 16 Nelson Rockefeller Collection porcelain service in the form of the Meissen Swan service designed by Johann Joachim Kandler (German, 1706-1775). Each piece is decorated with floral motifs along with a coat of arms. All pieces are marked "The Nelson Rockefeller Collection NR Reproduction of the unique Meissen Swan service designed and executed by J. J. Kandler Circa 1738 Mottahedeh Vista Alegre Portugal" along the underside. The set includes four mugs, four dinner plates, four salad plates, four bread and butter plates, and four saucers.Height ranges from 1 in to 3 1/4 in; diameter ranges from 3 in to 10 1/2 in. />Condition: No major breaks, losses, or restorations. Minor losses to the applied floral decoration along the cups. One of the salad plates has a minute chip to the footrim. Very light wear throughout consistent with minimal use.
Alabaster carved bust on a stone plinth in the form of a figure with a head covering and cloak.Height: 20 1/2 in x width: 12 in x depth: 8 in. />Condition: Light wear throughout. No major breaks, losses, or restorations. There is a brown wash over the whole sculpture. Streaks of this brown wash visible along the back. There is a hairline crack along the back of the work. Light wear to the base.
Alec Soth (American, b. 1969). Chromogenic print photograph titled "Luxora, AR (Arkansas)" depicting chairs and a couch in a desolate forest. Signed, titled, dated, and numbered 4/10 along the verso.Sight; height: 31 1/2 in x width: 39 1/2 in Framed; height: 33 1/4 in x 41 1/4 in. />Condition: The emulsion appears smooth with no breaks. The colors are bold and vibrant. No visible tears, creases, losses, or restorations. Light wear to the frame. Due to the nature of the frame this work has not been inspected out of frame.
Antoine Masson (French, 1636-1700) after David Teniers the Younger (Belgian, 1610-1690). Etching on laid paper after the Teniers painting "The Dinner with Ham (Ham Dinner)" depicting a crowded room at dinnertime, 1883. Signed in plate by Masson along the lower right. With an "MA" watermark. The Ham Dinner sold at Christie's in 2019, setting an auction record for Teniers at approximately $6 million. It was previously in the Rothschild collection. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in. />Condition: The sheet is lightly toned and there is a light undulation to the sheet. No tears, creases, losses, or restorations. Light wear to the deckled edges. The number "88" is written in pencil along the upper right. "Teniers The Dinner with Ham" is written in pencil along the verso in the upper left. Not framed.
After Andy Warhol (American, 1928-1987). Sunday B. Morning silkscreen print depicting Warhol's iconic Campbell's vegetable with beef stock soup can. Blue ink stamp along the verso with “fill in your own signature†and “published by Sunday B. Morning."Sight; height: 35 in x width: 23 in. Framed; height: 38 1/2 in x width: 26 3/4 in. />Condition: The print is in great condition with no rips, losses, or restorations. Extremely light undulation. Hinged in three spots along the top edge (center and both corners.) Affixed to an acid-free matboard. Light wear to the frame; framed under plexiglass.
Jay Strongwater, United States. Set of three gilt metal figurines in the form of the three wise men or magi for a Nativity set. With polychrome enamel and applied Swarovski crystals. Included is a small gilt pewter treasure box. Stamped along the underside. With the original packaging.Height ranges from 4 in to 6 in; width ranges from 3 1/4 in to 3 1/2 in; depth ranges to 3 in to 4 1/2 in. />Condition: There are no breaks, bends, or major wear. Light wear to the original packaging. The figurine with the red robe is missing one rhinestone along the back, visible in the lot listing.
Omar El-Nagdi (Egypt, 1931-2019)Alif mixed media on canvas, framedsigned 'Omar El Nagdi' and dated '2008' (upper right), executed in 2008150 x 150cm (59 1/16 x 59 1/16in).Footnotes:Provenance:Property from the Artist's Estate'Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence'.Born in 1931 in Cairo, Omar El Nagdi's artistic trajectory is a testament to a deeply ingrained passion for exploring the union of cultural heritage with avant-garde artistry. While El Nagdi's oeuvre spans an array of styles and subjects, his hurrufieh compositions stand out as a distinguished chapter in his prolific career.Detaching from the conventional use of calligraphy, El Nagdi's works in this style liberate the Arabic letters from their primary linguistic function. Instead, they breathe and dance on the canvas, fusing together, intertwining, and morphing into emotive forms. They are at once recognizable as letters and abstract forms, urging the viewer to witness the script in an entirely new light.In this composition the first letter of the Arabic alphabet, Alif, is constantly repeated. In the intricate tapestry of Arabic calligraphy, the practice of repetitively inscribing individual letters bears a profound connection to the Sufi concept of Zikr (often spelled 'Dhikr'). Zikr, an essential component of Sufi spiritual practice, entails the repetitive invocation of divine names or religious phrases to cultivate inner mindfulness, presence, and an intimate connection with the Divine. Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence, where both strive to center the practitioner in a profound space of reflection and devotion.El Nagdi's signature application of vivid hues imbues depth and dynamism to the compositions. Every brushstroke, while revealing letters, also narrates tales of centuries-old heritage and contemporaneous sentiments. Omar El Nagdi's hurrufieh compositions challenge, elevate, and redefine the way viewers engage with calligraphy. No longer simply a medium for conveying messages, the letters in his works embody emotions, stories, and histories.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
Tahia Halim (Egypt, 1919-2003)Paris Nocturne oil on board, framedsigned 'T.Halim' (lower right), executed in 195034 x 23cm (13 3/8 x 9 1/16in).Footnotes:Provenance:Property from a private collection, LondonThence by descent to the present ownerAcquired directly from the Artist by the the above in 1969Tahia Halim's masterful early painting, Parisian Nocturne, painted while she was living in the city, captures the timeless allure of the City of Lights through a mysterious and evocative lens. This dark and atmospheric piece transports the viewer to the hidden corners of Paris, away from the glamorous boulevards and tourist attractions, and into the heart of its enigmatic back streets.Halim's keen eye for detail and her skilful use of shadow and light create a sense of depth and intrigue within the composition. The play of dimly lit alleyways against the subtle glow of distant streetlights casts an almost cinematic quality over the scene, drawing the observer deeper into the narrative of the piece.The muted color palette of rich browns, deep blacks, and soft grays enhances the sense of mystery and timelessness, evoking the spirit of classic noir cinema. As the viewer explores the painting, they are invited to imagine the stories that unfold in these hidden urban passageways, where every shadow conceals a secret and every corner holds a tale.Tahia Halim's Parisian Nocturne is a testament to her remarkable ability to capture the essence of a place and time in a single frame. This painting is not merely a depiction of Paris; it is an invitation to wander its back streets and immerse oneself in the enigma they hold.For further information on this lot please visit Bonhams.com
Ahmed Cherkaoui (1934-1967)Les Miroirs Noirs VII oil on canvas, framedsigned 'A.Cherkaoui' (lower left), titled and dated on the verso, executed in 196525 x 30cm (9 13/16 x 11 13/16in).Footnotes:Provenance:Property from a private collection, FranceProperty from a private collection, SpainAcquired directly from the artist by the above 'This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections'- Holiday PowersAhmed Cherkaoui was a leading figure of early Moroccan modernism, known particularly as one of the first painters there to initiate a dialogue working towards rooting international artistic modernism within a distinctly national context. He was an early instigator to a broader movement in Morocco during the short span of his career between the late 1950s and 1967, when he died abruptly from complications from appendicitis. Despite the short length of his career, artists and the arts discourse in Morocco throughout the 1960s and 1970s came back repeatedly to questions Cherkaoui had begun to pose before his early death. Cherkaoui was one of the first artists to attempt to ground abstraction in signs and symbols, actively confronting the duality of and distance between Morocco and Europe as can be seen in his 1965 painting Les Miroirs Noirs VII (The Black Mirrors VII). If the resolutely flat plane, visible brush strokes, and loose gestural abstraction call to mind the Paris School, the luminous earth tones and central symbol still link back to Morocco. For an artist that felt himself continually torn between France and Morocco, it was in his work that he was able to create an interstitial space. The elements of the painting are not precisely locatable to a discreet national body yet still gesture to his multiple geographic ties, creating instead a new blend and bridging the distance between the two on canvas. Trained in calligraphy in Qur'anic schools in Morocco, Cherkaoui left for Paris to study graphic design at the École des Métiers d'Art in 1959. Despite his interest in design, it was during his time in Paris that he began focusing more on painting and began frequenting the atelier of painter Jean Aujame. Influenced by the work of Paul Klee and Roger Bissière, Cherkaoui began working with abstraction. Like many artists of his generation in Morocco, it was while he was abroad, studying in Warsaw at the School of Fine Arts, in 1961, that Cherkaoui became invested in a closer look at his own background and cultural heritage. This led him in part towards experimentation with new materials, such as his series consisting of paintings on jute and collages that allowed him to expand on the boundaries of more academic painting.1 It was upon his return to Morocco after that year that he began exploring more closely the signs and symbols culled from local visual culture that would go on to populate his visual language.2 In many ways, this is an evocative moment for a career that was so intensely rooted in Morocco yet primarily articulated abroad. After multiple years abroad, Cherkaoui came home only to leave again to forge a career in France. By 1965, the year in which he painted Les Miroirs Noirs VII, Cherkaoui was at the height of his career and working in France. That same year, Gaston Diehl, the highly influential director of the Cultural Exchanges at the French Cultural and University Mission, writes, again in a text reproduced in L'Opinion: 'Given that our universal contemporary art has been so often criticized by vocation and by taste to be without particular roots, let us rejoice in front of the oeuvre of an artist that is not afraid to affirm his personality andhis origins. ... That he plunges into a long ago past does not keep him from living in the present or placing himself there [in the present] with vigour. Mixture of traditions? Marriage of convenience between the Maghreb and Europe? I would opt more for an osmosis between two civilizations, between two distinct modes of expression.'While deeply influenced by Moroccan visual culture, and particularly by the symbols used in Amazigh symbols, Cherkaoui was by no means mechanically repeating the images that he saw around him, as is highlighted in Les Miroirs Noirs VII. To the contrary, his work is an in-depth exploration into the structures and shapes of these symbols in order to reimagine them, to rework them through the lens of international modernism. Instead, and as is highlighted with Les Miroirs Noirs VII, painted soon after Cherkaoui had left Morocco to work in France as a drawing teacher, the artist actively sought to ground the international influences of training within a deeply local context in order to create something different. It is not, in Cherkaoui's work, a choice between one or the other. Like other works from this time period, Les Miroirs Noirs VII focuses in closely on large shapes painted with thick black lines that are interacting with one another, emphasized and refracted by broad lines of bright colours over a wash of earth tones meant to mimic remembered Moroccan landscapes. This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections—the black line at the right is not retouched and so we glimpse the blue paint underneath, the purple paint is not quite opaque. There are not clean lines or sharp shapes in Cherkaoui's oeuvre, giving way instead to shapes that have light and life in them. The central symbol itself is off balance, not centred but active on its unstable axis. The canvas is full of movement because the viewer can see the action of his brush in the uneven white line in the centre, the gradations of colour given by varying thicknesses of paint, the lines that stop before hitting the edge at the bottom. The colours rarely blend together, instead focusing on the solidity and purity of each colour as it stands alone in concert with the other bright accents throughout the canvas. Moreover, it is an intimate canvas, just slightly larger than a piece of paper. Here Cherkaoui does not impose a vision to overwhelm the viewer, but invites us to step in closer, see in more depth something that is almost private. Abridged from a Text by Holiday PowersThis 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
Omar El-Nagdi (Egypt, 1931-2019)Alef Lam Mim mixed media on canvassigned and dated '2008' (lower right), executed in 2008 180 x 180cm (70 7/8 x 70 7/8in).Footnotes:Provenance:Property from the Artist's EstateHurrufiyya – The Art of the Word'Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence''They deconstruct writing, exploit the letter and turn it into a lexical sign of calligraphy, tradition and cultural heritage. As the sign is purely aesthetic, and only linguistic in its cultural association, it opens hitherto untraveled avenues for interpretation, and attracts different audiences, yet still maintains a link to the respective artist's own culture... Hurufiyya artists do away with the signifying function of language. The characters become pure signs, and temporarily emptied of their referential meaning, they become available for new meanings.' - Christiane TreichlBonhams are proud to present five spectacular artworks that showcase Arab Modern artists experimentation with the aesthetic and conceptual dimensions of Arabic letterforms, a movement broadly defined as 'Hurufiyya'. The works showcased here demonstrate the variety, geographical breadth, and originality of a movement which breathed new life into the traditional craft of calligraphy and which found local forms of expression amongst diverse regions of the Arab world. The Hurufiyya movement was an aesthetic movement that emerged in the late twentieth century amongst Arabian and North African artists, who used their understanding of traditional Islamic calligraphy, within the precepts of modern art. By combining tradition and modernity, these artists worked towards developing a Pan-Arab visual language, which instilled a sense of national identity in their respective nation states, at a time when many of these states where shaking off colonial rule and asserting their independence.They adopted the same name as the Hurufi, an approach of Sufism which emerged in the late 14th–early 15th century. Art historian, Dagher, has described hurufiyya as the most important movement to emerge in the Arab art world in the 20th-century.The term, hurifiyya is derived from the Arabic term, harf which means letter (as in a letter of the alphabet). When the term is used to describe an contemporary art movement, it explicitly references a Medieval system of teaching involving political theology and lettrism. In this theology, letters were seen as primordial signifiers and manipulators of the cosmos. Thus, the term is charged with Sufi intellectual and esoteric meaning.Traditional hurufi art was bound by strict rules, which amongst other things, confined calligraphy to devotional works and prohibited the representation of humans in manuscripts. Practising calligraphers trained with a master for many years in order to learn both the technique and the rules governing calligraphy. Contemporary hurufiyya artists broke free from these rules, allowing Arabic letters to be deconstructed, altered and included in abstract artworks Alef, Lam, Mim Born in 1931 in Cairo, Omar El Nagdi's artistic trajectory is a testament to a deeply ingrained passion for exploring the union of cultural heritage with avant-garde artistry. While El Nagdi's oeuvre spans an array of styles and subjects, his hurrufieh compositions stand out as a distinguished chapter in his prolific career.Detaching from the conventional use of calligraphy, El Nagdi's works in this style liberate the Arabic letters from their primary linguistic function. Instead, they breathe and dance on the canvas, fusing together, intertwining, and morphing into emotive forms. They are at once recognizable as letters and abstract forms, urging the viewer to witness the script in an entirely new light.Alef, Lam, Mim is a particularly significant sequence of letters which appears regularly in the Quran. In the intricate tapestry of Arabic calligraphy, the practice of repetitively inscribing individual letters bears a profound connection to the Sufi concept of Zikr (often spelled 'Dhikr'). Zikr, an essential component of Sufi spiritual practice, entails the repetitive invocation of divine names or religious phrases to cultivate inner mindfulness, presence, and an intimate connection with the Divine. Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence, where both strive to center the practitioner in a profound space of reflection and devotion.El Nagdi's signature application of vivid hues imbues depth and dynamism to the compositions. Every brushstroke, while revealing letters, also narrates tales of centuries-old heritage and contemporaneous sentiments. Omar El Nagdi's hurrufieh compositions challenge, elevate, and redefine the way viewers engage with calligraphy. No longer simply a medium for conveying messages, the letters in his works embody emotions, stories, and histories.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
A green tinted plain stem goblet, circa 1750In light green glass, the generous cup-shaped double ogee bowl raised on a plain stem, over a folded domed foot, 15.2cm highFootnotes:ProvenanceProbably Michael Parkington CollectionWith Asprey, 1989Durrington CollectionLiteratureRoger Dodsworth, The Durrington Collection (2006), no.52ExhibitedAsprey, 'Green Glass 1740-1840', 1986, catalogue p.3, no.18Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.54An identical glass from the Henry Fox Collection was sold by Bonhams on 2 June 2004, lot 68 and another from the Thomas Collection on 4 June 2008, lot 135.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
The Tilly of Haarlem Goblet: an important Beilby enamelled and engraved armorial light baluster goblet, circa 1765The round funnel bowl finely decorated in polychrome with the coat of arms of the Tilly family of Haarlem, a yellow dove perched on an olive branch with a white stem and green leaves, within an ouroboros, the yellow serpent picked out in iron-red shown biting its tail, within an elaborate rococo scroll cartouche painted in shades of pale purple, inscribed 'Tilly.' in opaque white beneath, the reverse engraved with a medallion containing seven arrows emblematic of the Seven United Provinces, within the inscription 'VREEDE EN EENDRAGHT' (Peace and Unity), surmounted by a dove in white enamel, traces of gilding to the rim, on a stem with triple-annulated knop above a beaded inverted baluster and small basal knop, over a conical foot, 17cm highFootnotes:ProvenanceSotheby's, 1 July 1949, lot 16With Delomosne and SonSotheby's, 24 November 1986, lot 78With Asprey, 1987Durrington CollectionLiteratureRoger Dodsworth, The Durrington Collection (2006), no.29Stephen Pohlmann, 'The Tilly Glasses', Glass Circle News, No.139 (November 2015), p.5, fig.1ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.38Once known as 'Newcastle' light balusters, glasses of this distinctive form are now known to have been manufactured in Holland as well as England, see Catherine Ross, 'Flint glass houses on the Rivers Tyne and Wear during the eighteenth century', The Glass Circle Journal, No.5 (1986), pp.75-85. It is likely that the Beilbys imported undecorated light baluster glasses from Holland, as most surviving examples of this shape with Beilby decoration have identical stems and several have Dutch connections.Fifteen Beilby decorated light baluster wine glasses or goblets, many of similar shape, are recorded including the present lot. Eleven of these bear armorials or crests, while four are painted with vine in opaque white enamel. The latter includes one in the Victoria and Albert Museum (inv. no.c.625/1936), one in the Kunstmuseum Den Haag (inv. no.1005203), one in the Fitzwilliam Museum (inv. no.C.513-1961) and one from the Thompson-Schwab Collection sold by Bonhams on 21 June 2022, lot 102.Of the crested and armorial examples, eight have direct Dutch connections. They include the magnificent Prince William V goblet from the A C Hubbard Jr Collection sold by Bonhams on 30 November 2011, lot 142, a smaller wine glass also bearing the arms of Prince William V sold by Bonhams on 1 May 2013, lot 116, two wine glasses with the arms of Prince William V and Princess Wilhelmina accollé, including one from the Julius and Ann Kaplan Collection sold by Bonhams on 15 November 2017, lot 33 and one in Museum Rotterdam (inv. no.17) and a goblet in the World of Glass Museum in St. Helens bearing the arms of the Van Dongen family of Amsterdam. Three further glasses bear the arms and crest of the Tilly family of Haarlem, including the present lot.In 2010 a second 'Tilly' glass, with a damaged foot, was discovered in the collection of Rudy van Dobben in Halfweg, Netherlands, which had directly descended through the Tilly family. See Kiki Alpherts and Marius van Dam, Tussen Kunst en Kitsch: 101 ontdekkingen (2015), p.133, no.66. This was sold as part of the Stephen Pohlmann Collection by Bonhams on 30 November 2022, lot 40 and differs slightly from the present lot in that the reverse is enamelled with the crest of a white dove in flight above a helmet in yellow and red. Whilst it has been suggested that the engraving on the Durrington glass existed before the enamelling took place, it is plausible that the engraved medallion was later added over the original enamelled crest. A third 'Tilly' glass, in a private collection, is unpublished.The 'Tilly' set was almost certainly commissioned by Claas de Koning Tilly (1727-1814), who by 1764 owned a firm in Haarlem founded by his grandfather in 1696, which specialised in the production of a panacea known as Dutch drops (Haarlemmerolie). The firm was subsequently renamed C de Koning Tilly and was latterly owned by Rudy van Dobben until 2019, a direct descendent of this branch of the Tilly family. Interestingly, two engraved light baluster wine glasses bearing the initials 'CDKT' for Claas de Koning Tilly are discussed in detail by J R ter Molen, 'Twee gedecoreerde wijnglazen uit 1765 en 1769 met de initialen van C. de Koning Tilly', Antiek, Vol.8 (March 1982), pp.461-70, indicating that Claas was clearly commissioning other glasses at this time. The first is decorated with the arms of Haarlem, dated 1765 and inscribed ''T WELVAAREN VAN DE DIACONY' (The prosperity of the Diaconate). It is thought to commemorate the election of Claas as a deacon by the Grand Church Council on 18 March that year, a position which he held until 1769. The other is dated 1769 and decorated with a view of the Hofje van Bakenes in Haarlem, almost certainly commemorating his appointment as regent of the Bakenesser Chamber on 2 October that year, a position which he retained until 1780. It seems likely that the Beilby decorated set may also have been commissioned to celebrate one of these occasions.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
A rare green tinted incised twist baluster champagne or wine glass, circa 1750-60In light green glass, the distinctive cup-shaped bowl moulded with a band of twenty-six evenly spaced vertical flutes or gadroons to the base, raised on an incised twist stem with shoulder and basal knops, over a folded conical foot, 12cm highFootnotes:ProvenanceC Kirkby Mason Collection, Sotheby's, 21 November 1929, lot 58 (part)Lidgerwood CollectionWith Cecil Davis, 1935Walter F Smith Collection, Sotheby's 24 June 1968, lot 735Probably Michael Parkington CollectionWith Asprey, 1989Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.47ExhibitedAsprey, 'Green Glass 1740-1840', 1986, catalogue p.3, no.10Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.48Traditionally known as mead glasses, it is now thought that glasses of this form were more likely used for Rhenish wine or champagne, see the footnote to Lot 37 in this sale.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
A fine engraved Jacobite light baluster wine glass, circa 1750The slightly flared round funnel bowl with a seven-petalled rose on a thorny stem with a single closed bud, the other side with a crest of a lion passant guardant, raise don a slender multi-knopped stem with an upper cushioned baluster and a central beaded knop above an inverted baluster, terminating in a small basal knop, over a domed foot, 15.9cm highFootnotes:ProvenanceCaptain N L Davidson CollectionMrs E M Coleman Collection, Sotheby's, 3 December 1954, lot 18Walter F Smith Collection, Sotheby's, 24 June 1968, lot 675Kenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.24ExhibitedAsprey, '100 British Glasses', 1985, catalogue pp.54-5, no.82Broadfield House Glass Museum, 'Majesty & Rebellion', 3 July - 14 November 1999, catalogue no.12The crest is perhaps that of the Fairfax family. According to Geoffrey B Seddon, The Jacobites and their Drinking Glasses (1995), the engraving can be attributed to Engraver A in the author's nomenclature. A similar glass in the Drambuie Collection is illustrated by Seddon (1995) on p.169, pl.41 and in Robin Nicholson's catalogue (1995), p.31, pl.22d. An example in the collection of Christ Church College, Oxford, is illustrated by Peter Brown, Pyramids of Pleasure (1990), p.27. Another the collection of Rosemary Aspin at Broomhill House, Grantown on Spey, was sold by Bonhams Edinburgh on 29 August 2012, lot 53.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
Robert Rafailovich Falk (Russian, 1886-1958)Hawthorn branch, 1948 signed in Cyrillic and dated '48' (lower left)oil on canvas 65 x 81cm (25 9/16 x 31 7/8in).Footnotes:ProvenanceCollection of V. Shklovsky, acquired directly from the artistThence by descentLiteratureRobert Falk/ Paintings/ Addendum to the Catalogue Raisonné, Y.V. Didenko, Three Squares, Moscow, 2018, no. 36 (1244), p. 51 illustratedHawthorn branch, 1948, is a remarkable painting shot through with the vibrant colour of the hawthorn berries. Typical of Falk's later still-lifes, the colour combination of the branch's reds and greens would have been well considered by the artist who was, as noted by his widow Angelina Shchekin-Krotova, 'meticulous when it came to composition'. As with the majority of Falk's still-lifes from the period, the branch of berries is set against a darker background of brown and silvered wood, such that the different hues of green and red stand out, lit by a shaft of gentle light. A comparable still-life from 1947, Рябина осенью [Autumnal rowan] (Abramtsevo Museum-Reserve) is similarly composed around the contrasting colours of the leaves and berries of the rowan. Yulia Didenko elaborates on Falk's artistic methods, noting 'He grouped his objects according to the charge of energy in their colours; he created a 'plastic event''. [Didenko (ed.) The Late Still-Lifes of Robert Falk, Angelina Shchekin-Krotova, 'Tretyakov Gallery Magazine', no. 4 2020 (69)].Both Hawthorn branch and Bouquet with mimosa were acquired by the renowned Russian writer Viktor Shklovsky directly from Robert Falk. Viktor Borisovich Shklovsky (1893-1984) was a writer, literary critic, screenwriter and film critic who first encountered Falk (as recounted by Shchekin-Krotova) with the artist Elena M. Fradkina (1901-1981). Falk was very taken with Shklovsky's sharp repartee and - interestingly- with the shape of his bald skull, the latter being a preoccupation of the artist. Falk had, apparently, been musing on the subject of bald skulls for a long time and had written to Raisa Idelson from Paris in the 1930s of his desire to paint a portrait of three bald old men.Eventually, Falk persuaded Shklovsky to sit for him, beginning with a series of sketches and resulting in the painting Portrait of V.B. Shklovsky, presently in the collection of the Vladimir Dahl Russian State Literary Museum in Moscow. In the entry for the offered lot in Robert Falk/ Paintings/ Addendum to the Catalogue Raisonné, Yulia Didenko notes that it is possible that the painting was acquired by Victor Shklovsky in the year it was painted, 1948, because it was that year that Shklovsky sat for his portrait in Falk's studio.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
Petites statuette en porcelaine représentant un léopard dans le gout de Meissen, XVIIIe siècle ou postérieurA small Meissen style leopard, 18th century or laterModelled reclining, painted with black spots, his nose and yellow eyes picked out in light brown, 12cm longFootnotes:Provenance:The Rosa Alba Collection of Meissen PorcelainFor further information on this lot please visit Bonhams.com
Plat à dessert en porcelaine de Meissen du service « Schwerin », circa 1762-63A Meissen dessert plate from the 'Schwerin' service, circa 1762-63Moulded with a basketwork ground radiating from a central gilt-edged cartouche painted with fruit and flowers, the rim with four pierced panels of flowers enclosed by gilt-edged rocailles against pierced trelliswork with moulded puce flower-heads, the edge of the rim pierced within a formal gilt border, 24cm diam., crossed swords mark in underglaze-blue (very light wear)Footnotes:Provenance:According to family tradition, presented to General Field Marshall Kurt Christoph Graf von Schwerin (1684-1757) by Frederick the GreatKurt Christoph Graf von Schwerin (1684-1757) began his military career in the army of the Netherlands States-General. He also served in Mecklenburg and Imperial service, and, from 1720, in Prussian service as a Major-General. Frederick the Great promoted him in 1740 to General Field Marshall and raised him to the rank of Graf (Count). He was appointed commander of the 3rd army corps in 1756, and fell outside Prague on 6th May 1757, holding a regimental banner in his hand in an heroic attempt to rally his troops. See Samuel Wittwer, Friedrich der Große und das Meißener Porzellan, in Keramos 208 (2010), p. 62, for a short discussion of the service.Another dessert plate from the service was sold in these rooms as part of the Hoffmeister Collection Part 1, 25 November 2009, lot 100, another in the Britzke Collection Part II, 22 June 2017, lot 123, another 5 July 2018, lot 116 and a fourth 6 December 2018, lot 70.For further information on this lot please visit Bonhams.com
Bol à thé et soucoupe en porcelaine de Meissen Hausmaler, circa 1740A Meissen Hausmaler teabowl and saucer, circa 1740Probably decorated in Bayreuth, each with a panel depicting Cupid engaged at various pursuits within a gilt scrollwork and trellis panel cartouche embellished with polychrome scrolls and flowers, the rims with a border of gilt trellis panels and scrollwork, the teabowl: 4.3cm high; the saucer: 12.7cm diam. (light wear) (2)For further information on this lot please visit Bonhams.com
A late Victorian 18ct gold open face pocket watch, the white enamel dial with Roman numerals and centre seconds hand, to a keyless wind ¾ plate movement, dial and movement signed H. KALTENBACH, LLANELLY, the case hallmarked for Chester 1892, movement and case numbered 116565, monogrammed and inscribed, case diameter 4.95cmSurface wear, scuffs and nicks/chips to dial, surface wear to glass. Scattered dings, dents and impressions to case, with general surface wear throughout. Marks are mostly clearly struck with patchy light wear. Slight gapping to case cover when closed. The movement runs when wound but is untested for working order, which cannot be guaranteed. The pusher does not appear to be functioning. Gross weight approximately 117gm.
An 'Admiral' automatic wristwatch by Longines, the circular silvered dial with baton markers, day/date display at 3 and centre seconds hand, to a calibre 507 automatic movement numbered 50584443, the case stamped '18K 0,750' with Swiss gold marks, numbered 15713115 and 8341 1, dial, movement, winder and case signed, on an unassociated strap, case width 3.5cmAccompanied by copy service receipt issued by Babla's Jewellers, dated 14 October 2020 Light spotting, light dust residue and light surface wear to dial. Slight patchy discolouration to hands. Scuffs, scratches and chips/nicks to case, signatures to outer case back are worn, tool marks to case back. Minimal wear to glass. The movement currently runs but is untested for working order, which cannot be guaranteed. Length of case (from shoulder to shoulder) 4.1cm. Unassociated strap is worn.
A pink tourmaline, sapphire and diamond cocktail ring by Rodney Rayner, the oval cabochon pink tourmaline enclosed to each shoulder by three pavé set petals of round brilliant-cut diamonds and circular mixed-cut sapphires, 18ct white gold mounted, hallmarked for London 2003 with maker's mark RHR, total diamond weight approximately 0.25ct, ring size approximately N - OLight surface wear, scuffs and nicks/small chips to the mount and gemstones, commensurate for occasional use. The pink tourmaline contains multiple fracture, fissure and needle inclusions, some that are surface-reaching, and measures approximately 21mm length x 14.4mm width x 8.4mm depth. Sapphires are well matched, of steely-blue hues, occasional stones with faint colour zoning and small inclusions. Diamonds are mostly well matched, bright and lively, estimated VS1 to SI1 clarity and H to K colour, assessed mounted. Hallmarks and the maker's mark are clearly struck. Gross weight approximately 17.3gm.
A silver 'Kneeling Fawn' brooch designed by Arno Malinowski for Georg Jensen, the oval openwork panel depicting a kneeling fawn amongst stylised foliage, numbered 256, signed and stamped '925S Denmark', with import marks for London 1998, length 4.5cmLight surface wear throughout, commensurate for occasional use. Marks are clearly struck. The clasp is functioning. Gross weight approximately 15.2gm.
A French sapphire and pearl bracelet, of hollow fancy-link design, spaced with alternating circular mixed-cut sapphires and pearls, with eagle's head control mark and lozenge-shaped maker's mark, (pearls untested for origin), length 18cmSapphires are well matched, of dark blue hues, one stone containing an area of angular colour zoning, another stone containing a surface-reaching fracture inclusion. All have light surface wear and measure approximately 4mm diameter. Pearls are well matched, with shallow surface blemishes and scuffs. The bracelet has surface wear with occasional shall dings and the clasp is tight fitting. Marks to the clasp are clearly struck. Bracelet width 0.9cm. Gross weight approximately 11.7gm.
A lady's wristwatch by Omega, the rectangular silvered dial with gilt baton quarters and Arabic numerals, to a jewelled manual wind movement numbered 10729239, the case stamped '14K 0,585' with Swiss squirrel marks, numbered 10750699, dial, movement and case signed, on an unassociated woven bracelet with gilt fittings, accompanied by maker's box, case width 1.5cmSurface wear, scuffs and nicks/chips to dial, with some oatchy dark staining towards outer edge. Surface wear, scuffs and chips/nicks to glass and case, patchy tarnishing to case. Light wear to marks. The movement currently runs when wound but is untested for working order, which cannot be guaranteed. Considerable wear to woven strap, with some losses and loose threads, the clasp functions. Considerable wear to box, with scuffs and losses to exterior finish.
A pair of diamond ear studs, each round brilliant-cut diamond in four claw setting, platinum mounted, with butterfly fittings, total diamond weight approximately 0.40ctDiamonds are well matched, bright and lively, with estimated VS1 to VS2 clarity and H colour, assessed mounted. Diameter of each stone approximately 3.8mm. The mounts are modern with light surface wear and marks are a little rubbed. The butterflies are not hallmarked and are untested for metal standard. Gross weight approximately 1.4gm.
A late 19th/early 20th century diamond crescent brooch/pendant, designed as a row of graduated old brilliant-cut diamonds in pinched collet settings, terminating with lasque-cut diamond points, gold and silver mounted, with detachable brooch fitting and hinged pendant fitting, principal diamond weight approximately 0.55ct, total diamond weight approximately 3.30ct, length 3.2cmThe old brilliant-cut diamonds are well matched, bright and lively, graduating in size from approximately 0.55ct to 0.02ct. Some stones have nicks, chips and fractures and light yellowish tints. Estimated SI1 to P2 clarity and I to K/L colour, assessed mounted. Lasque-cut diamonds have a typically greyish, fractured/chipped appearance. The mount has general surface wear, with patchy thinning to the edges of the settings and some tarnishing. The brooch pin is functioning but the safety hook is bent to one side. Metal standards are untested. Gross weight approximately 7.8gm.
An early 20th century 18ct gold hunter pocket watch, the white enamel dial with Roman numerals and subsidiary seconds dial, to a keyless wind movement, the case with Chester hallmark, dial and movement signed Russells Limited, 18 Church Street, Liverpool, movement and case numbered 67488, case diameter 5cmScuffs, light surface wear and occasional nicks/chips to dial. Surface wear to glass. Scuffs, scratches, dings and areas of pitting to case, cover closes fairly tightly with slight gapping. Tool marks to case sides. Patchy wear to marks, date letter is indistinct. The movement currently runs when wound but is untested for working order, which cannot be guaranteed. Gross weight approximately 86.8gm.
A late 18th century ivory and enamel memorial ring, the oval ivory panel painted to depict a maiden gesturing towards a funerary urn on plinth, inscribed 'LIFE HOW SHORT', framed by a weeping willow tree, within a black enamel border inscribed 'AARON MORRITT OB 29 APR 1793 AE 43', between tapered foliate engraved shoulders, together with an agate and purple stone double cluster brooch, (later fitting), ring size approximately L, brooch length 3.3cm (2)Ivory registration no. FP25K67V Ring: crazing, surface wear and dust/dirt residue to ivory miniature panel, with scuffs, scratches and nicks to glazing above. Small chips/nicks and scuffs to enamel inscription. Panel measures approximately 2.8cm length x 1.8cm width. The ring mount has surface wear, with solder seams visible at junctions to the panel reverse and shoulders, and is untested as gold/gilt metal. Engraved decoration has patchy light wear. Gross weight approximately 5.8gm. Brooch: The central agate cabochons are foil-backed and the purple stones are possibly foil-backed pastes, all with considerable abrasion, scuffs and chips to the surface. Mount is two-colour with considerable wear and tarnishing, untested as silver/gold/gilt metal. Fittings are later replaced/added. Gross weight approximately 8.2gm.
A diamond spray brooch, designed as a wirework spray of round brilliant-cut diamonds, tied with a single-cut diamond set ribbon, white precious metal mounted, stamped '585', total diamond weight approximately 0.55ct, length 4.15cmDiamonds are well matched, bright and lively, estimated VS1 to SI1 clarity and H to J colour, assessed mounted. Diamonds graduate in size from approximately 0.08ct to 0.005ct. The brooch mount has light surface wear and the clasp is functioning. Metal standard is untested. Gross weight approximately 8gm.
A pair of amethyst and diamond cluster earrings, each cushion-shaped amethyst bordered by round brilliant-cut diamonds, 18ct white gold mounted, on post and butterfly fittings, total diamond weight approximately 0.25ct, length 0.9cmOf modern manufacture, with light surface wear to the amethysts and mounts. Diamonds are well matched, bright and lively. The butterflies are fairly tight fitting. Hallmarks to the posts have patchy light wear. Gross weight approximately 2.9gm.
A 'Moonlight Grapes' pendant and earrings suite by Georg Jensen, each designed as a cascade of graduated beads, the pendant signed and stamped '925S', on a trace-link chain, the earrings signed GJ and stamped '925S', with silver convention marks, on post and butterfly fittings, pendant length 7cm, earrings length 3.8cm (2)Light surface wear, scuffs and nicks to both pieces, commensurate for use. Maximum chain length 44.5cm, clasp is functioning. Gross weights approximately: pendant on chain 16.5gm, earrings 7.6gm. No boxes included.
A lady's 18ct white gold and diamond set 'Tank Américaine' bracelet watch by Cartier, the rectangular silvered engine-turned dial with black Roman numerals, inner minute track and blued steel hands, to a polished case inset with round brilliant-cut diamonds, numbered 994943CD 2489, with calibre 157 quartz movement, the brick-link bracelet with dual foldover clasp, the dial, movement, case and bracelet signed, the case and bracelet with 18ct gold convention marks, accompanied by maker's box and papers dated 8 April 2005 and retailer's valuation for insurance dated 12 April 2005, case width 19mmLight surface wear to dial. Some condensation to underside of glass. Scuffs, scratches and chips to glass. General surface wear, scuffs, scratches and chips/nicks to case and bracelet, commensurate for use, with patchy light wear to some of the marks/signatures. Some play between bracelet links. Bracelet marks to foldover clasp, the clasp is currently functioning with some looseness to one side. Diamonds are well matched, bright and lively. Evidence of moisture with associated patchy staining to inside of case and housing for movement. Quartz movement currently runs but has not been tested for working order and working order cannot be guaranteed. Case length 34.8mm. Gross weight, including dial/movement, approximately 84gm. Wear to maker's case, with scuffs/losses to exterior finish.
An amethyst single stone dress ring, the oval fancy-cut amethyst in collet setting, above a scroll pierced gallery and shoulders, yellow precious metal mounted, ring size L½The mount is of relatively modern manufacture, with general surface wear, scuffs and nicks throughout and areas of pitting/porosity. The amethyst has a mid pinkish-purple hue with light surface wear, measuring approximately 20mm length x 16.5mm width x 11.5mm depth. Metal standard is untested and the mount appears to be unmarked. Gross weight approximately 16.6gm.
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