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534297 Los(e)/Seite
Los 158
An assortment of part tea sets including 19th century Sunderland and Royal Copenhagen. Condition Report: Royal Copenhagen: One handle has been re-attached, another has a hairline crack to the handle. Uneven rim, discolouration and residue to the bowl. At least three saucers have hairline cracks and other with chips to the edges (one substantial example). Light pitting to the glaze, some wear and rubbing consistent with age and usage. Colours bright. None of the wavy lines have diamond scores through them.
Los 267
A modern oak extending dining table. With additional leaf to inside, raised upon square supports, L90cm x D90cm x H78cm Condition Report: Overall in good condition. Some light scratches and wear consistent with age and usage. Opens and closes smoothly. Structurally sound, no obvious breakages or repairs.
Los 299
A pair of 20th century Noritake porcelain vases. Decorated with country scenes by a lake, twin handled, H29cm Condition Report: Overall in good-very good condition. Some light wear and scratches consistent with age. Small areas of pitting, colours bright. No apparent cracks, chips or restoration.
Los 335
A Swedish glass Malcolm Sutcliffe studio bowl and a frosted glass figure of a polar bear. The bowl decorated with dolphins with textured details, signed to base, H10.5cm, the polar bear, H7.5cm Condition Report: Bowl 10.5cm high, 15.5cm wide. Signed 'Malcolm Sutcliffe' to the base. Bowl is overall in very good condition. No apparent cracks, chips or restoration. Some light scratches and wear. No obvious repairs.
Los 584A
A 20th century wall mirror. Of rectangular form, with black painted wooden frame, 50cm x 81cm Condition Report: This item appears to be late 20th century. Generally in good condition. Some small knocks to the frame and light scratches consistent with usage. Some spots of discolouration to the glass, spots of tarnishing to the metal. No apparent cracks, breakages or restoration. Still hangs.
Los 653
A 20th century woven rug. The central panel featuring a floral medallion surrounded by birds and foliage, on a brown ground in red borders, cream tassels, 135cm x 223cm Condition Report: Rip and hole near one corner of the rug, measuring approximately 10cm in length. Opposite corner has a tear through it's edge. Discolouration visible in places, caused through previous use and exposure to light.
Los 100
Chinese School, 19th CenturyStudies of flowers including peonies and camellias and butterflies in flightA set of twelve within ebonised and gilt decorated framesWatercolours on pith paper 20 x 32cm (7 13/16 x 12 9/16in).12Footnotes:Provenance: Berkshire Furnishings, WiltshireChinese pith pictures represent a particular moment in the relationship between China and the European countries she was beginning to trade with. At the beginning of the 19th century access to the country for traders was limited, with Canton (Guangzhou) on the Pearl River in South China being the only port open to foreign merchants. As demand for Chinese products (notably silk, porcelain and tea) grew, an influx of ships and their crews descended on Canton.Enter pith pictures; a light, bright and easily transportable memento produced by Canton based artists specifically for the ordinary sailor or ship's mate wanting to take back a small token of their travels. Traditionally bound in albums in thematic groups, the most popular subjects included flowers, birds, boats, and traditional costume. Although albums do exist, they are now more commonly displayed in framed groups, as can be seen in the following examples collected by Tara Elliot. Often erroneously called rice paper paintings in English, the pith was cut directly from the inner spongy cellular tissue of the small tree Tetrapanax papyrifer, native to southern China and Taiwan, before being cut into thin sheets ready for painting. It had historically been used to make artificial flowers and for Chinese medicine. In studios, artists thickly applied gouache to the translucent surface, thus creating a raised and slightly textured effect with brightly coloured pigments. These studios flourished between the 1820s and 1860s, with an estimate that there were about thirty shops selling pictures near the foreign quarter of Canton by 1835. After the First Opium War (1839-1842) when China was forced to cede Hong Kong to Britain, more ports were opened up to foreign trade thus leading to Canton losing its position as the centre of pith painting and export. Additionally, as photography became more popular and widespread it replaced pith pictures as the chosen medium for souvenirs. As such, the following Lots serve as important emblems of early 19th century trade between China and the world.For further information on this lot please visit Bonhams.com
Los 18
Sebastiano Ricci (Belluno 1659-1734 Venice)Alexander and DiogenesOil on canvas 104.5 x 137.8cm (41 1/8 x 54 1/4in).Footnotes:Provenance:Probably purchased in Florence circa 1880 and by family descent until offeredSale, Sotheby's, London, 9 December 1987, lot 23Sale, Christie's, London, 10 July 1992, lot 57, where purchased by the late present ownerLiterature:A. Scarpa, Sebastiano Ricci, Milan, 2006, cat. 563, ill. fig. 457The present work depicts Alexander the Great meeting Diogenes, an encounter that is said to have taken place in Corinth.The philosopher and cynic Diogenes of Sinope is seated beside the barrel in which he lived having renounced all his possessions in favour of a simple and natural life. Alexander, King of Macedonia, is shown standing in sumptuous regal attire and accompanied by his attendants. When Alexander, who admired Diogenes, approached him and said, 'Ask of me what thou wilt and thou shalt have it' to which the philosopher replied, 'Stand out of my light'. Sebastiano Ricci is known to have painted four versions of the subject of Alexander and Diogenes (see: J. Daniels, Sebastiano Ricci, 1976, pp. 61, 92, 119, 140).This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 216
A collection of salmon and trout rodsComprising two salmon rods: a three piece Hardy 15'4' Graphite Salmon Fly rod, #10, no. BE15693, in cotton Hardy's bag; and a three piece Hardy 15'4' Graphite Salmon Fly rod, #10, no. J/Q, cotton Hardy's bag;A variety of trout rods: a two piece Hardy Graphite 8' rod, #5/6, with System 2 reel; a pair of unnamed glassfibre 8 1/2' rods, #5/6, with Super Light Magnesium 56L reels and lines; a two piece 8 1/2' fibreglass rod, #6, with Intrepid Rimfly reel; a Hardy Graphite Smuggler De-Luxe seven piece rod, #6, no. IFK113977; a Hardy split cane 2 piece rod, 260 cm, no E7695; a Hardy 9' trout rod, #6, with Hardy 'The Viscount' MkII 130 reel; a three piece Hardy 'The Alnwick Greenheart Rod', 9';A collection of Spinning rods: a pair of Daiwa 5' spinning rods; a two piece spinning rod, possibly Hardy, with black and red whipping; a Fenwick Eagle II 6 1/2' graphite spinning rod; a Hardy Fibalite Spinning rod, 8 1/2', 7/8lb; a Hardy Fibalite Spinning rod, 10'; a Rod Box glassfibre spinning rod, otherwise unmarked;Together with five assorted rod sections and tips (some broken) various cotton rod bags, a red-handled trout net and a blue plastic adjustable travel rod box (Qty)For further information on this lot please visit Bonhams.com
Los 66
An Empire style colza type bronze and gilt metal three-light chandelierWith cast foliate top on three leaf-cast reeded suspension rods, the bowl-shaped centre with scrolling branches alternating with eagle-heads and pendant tassels, adapted for electricity, 48cm wide x 48cm deep x 98cm high, (18 1/2in wide x 18 1/2in deep x 38 1/2in high)Footnotes:Provenance: Berkshire Furnishings, Wiltshire.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 67
A near pair of French painted tole six-light chandeliersEach with pierced giltwood baskets issuing six scrolling candle arms and entwined rose and lily stems, together with a French tole and glass lantern, the scrolled supports entwined with flowers and leaves, 66cm wide x 77cm deep x 92cm high, (25 1/2in wide x 30in deep x 36in high) (3)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 70
William Osborne, RHA (Irish, 1823-1901)Equestrian portrait of Sarah Conolly of Castletown, mounted side saddle on a light bay hunter in a landscapeOil on canvas 112 x 133cm (44 1/16 x 52 3/8in).Footnotes:Provenance:Anon. sale, Christie's, London, 10 April 1992, lot 82.With Frost and Reed Ltd., London, no. 57637.Sarah Eliza Shaw, the daughter of a Celbridge paper miller, married Thomas Conolly in 1869. Their spectacular wedding in Bray was much commented upon in the newspapers of the day and involved no less than three receptions and two parades. It is possible that the mountain range and tower depicted below the horse's head may be the Hill of Allen, a volcanic hill situated in the west of County Kildare.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 71
William Osborne, RHA (Irish, 1823-1901)Equestrian portrait of Thomas Conolly, MP, of Castletown, mounted on a dappled grey hunter in a wooded landscapeOil on canvas 112 x 133cm (44 1/16 x 52 3/8in).Footnotes:Provenance:Anon. sale, Christie's, London, 10 April 1992, lot 81With Frost and Reed Ltd., London, no. 57638Castletown House, where these portraits originally hung, is Ireland's first and finest Palladian mansion. Located in County Kildare, the house was begun in 1722 for William Conolly (1662 –1729), Speaker of the Irish House of Commons and was magnificently remodelled and decorated by Lady Louisa Conolly (1743-1821), wife of Thomas Conolly (1738-1803) from 1759 onwards. After Lady Louisa's death the Conolly estates, including Castletown, were inherited by Thomas Conolly's grandnephew Edward Pakenham (1786–1848), who then took the name Conolly. During Edward's time few changes were made to the house, probably due to the strained economic circumstances of this time. In 1848 Edward Conolly was succeeded at Castletown and Westminster by Thomas Conolly, here depicted by William Osborne, mounted on a dappled grey hunter. For Osborne's companion portrait of Sarah Conolly, seated side saddle on a light bay hunter, see the previous lot. While the 18th century history of Castletown and its residents has been extensively studied, the 19th century history of the house and its inhabitants is perhaps a little less well known. However, eight diaries written by Thomas Conolly between 1853 and 1870-71, have been preserved (collections of Desmond Guinness (1931-2020) and Irish Architectural Archive). These diaries act as an effective paper trail for life at Castletown in the mid-nineteenth century and record his activities, social engagements, hunt meets, travels and health. Thomas Conolly, owner of Castletown, the first great Palladian mansion in Ireland, was also amongst the last of the Protestant ascendancy landowners of a 'Big House' in nineteenth century Ireland and his story has been recently published by Dr Suzanne M. Pegley in her book Thomas Conolly (1823-76) of Castletown House and the social networking of power. As Pegley notes 'Although documentary evidence is limited, his contribution assured that the fabric of the house and its legacy was sustained for the benefit of his grandchildren and ultimately, if not intentionally, for the Irish people (see Suzanne Pegley, Landscapes of Power, The Social Network of the Power Elite in mid-Victorian Ireland Case Study of Thomas Conolly (1823-76) of Castletown, Co Kildare, PhD thesis, 2018, p.42).Thomas Conolly travelled extensively, including to Virginia in 1864 during the height of the American Civil War where he met General Lee, Jefferson Davis and other Confederate leaders. And his diary of that time has been acknowledged as an important record for researchers of 19th century American history (see Nelson D Lankford, ed., An Irishman in Dixie: Thomas Conolly's Diary of the Fall of the Confederacy, 1988). Upon Conolly's return to Ireland in 1864, he was forced to sell some of the Castletown lands to avert financial troubles. He settled at Castletown in 1869, marrying Sarah Eliza Shaw, the Celbridge paper miller's daughter. And following this (and the addition of her dowry of £10,000 to his fortune) the couple carried out some new work and refurbishment of Castletown. This included the decoration of the blue bedroom, the partial redecoration of the long gallery and the red and green silk rooms. The couple visited the Pitti Palace in Florence, which is thought to have been the inspiration for Castletown's red silk room which has been recently restored.The couple's decision to be painted by the Irish artist William Osborne (1823-1901), prepared for a hunt, is noteworthy. Osborne's work relating to equestrian subjects was highly admired in 19th century Ireland. See for example his great ensemble portrait 'The Ward Hunt', preserved at The National Gallery of Ireland (NGI.891). For the Conolly's, horses and hunting were the centre of their world. Conolly was an enthusiastic member of the Kildare Hunt and as Suzanne Pegley's transcriptions of Conolly's diaries have shown, he spent 30 days of 1853 hunting and was keeping twelve horses for his personal use at this time. In 1868, while the Conolly's were on their honeymoon in Paris Thomas and Napoleon III, entered into friendly competition about their horses and carriages. Conolly was considered to have won the competition because his horses were 'shod in silver' (see Boylan, 'The Conolly Family', Irish Georgian Society Bulletin, Vol XI, no. 4, 1968, p. 45). Conolly's sporting interests can be seen not just in the commissioning of these portraits but in his interventions at Castletown, his conversion of the print room into a billiards room and in 1872 his renovation of the first-floor east wing stables at Castletown creating a clubroom for social activities of the Kildare Hunt.These pictures by Osborne are certainly the most important works by the artist to appear on the market for many decades. While known as an expert hand with horses and dogs, Osborne here demonstrates his versatility by capturing his sitters with flattering skill. These pictures are a fitting tribute to the inhabitants of one of the largest estates in Ireland, an adventure loving whose impact on Castletown can still be seen today.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 1002
A white metal diamond crossover ring with twin round brilliant cut stones weighing 4.20ct and 3.66ct, with eight further baguette cut stones to the swept design, size L, approx 7.07g. Footnote: Presented with AnchorCert Gem Lab reports for both principal diamonds. The first for the 4.2ct - colour M clarity VS, the 3.66ct colour K clarity SI.Additional InformationThe 4.2ct diamond measures 10.52-10.66 x 6.08mm. The 3.66ct stone measures 10.06 - 10.13 x 5.88mm. The diamonds are eight claw set, all claws are present. The stones are in good condition, light surface wear only to the band. The ring has been with the vendor for approx 50 years and was a gift to her from her husband.
Los 1014
An 18ct yellow gold three stone cabochon opal and four diamond half hoop ring, Chester hallmarked, size P 1/2, approx 5.1g.Additional InformationThe central opal is approx 6mm x 4.7mm. The ring head is 17.4mm. The opals themselves have light surface wear but free from any chips and cracks. The tips of the claws are all sound but a couple of quite heavily worn. General wear to the band, obscuring slightly the hallmark.
Los 105
A George V hallmarked silver mounted oak rectangular photograph frame, Birmingham 1918, height 28cm, width 33cm (1)Additional InformationSome light knocks to the frame here and there throughout, some light tarnishing and some wear at the edge. General wear to the oak at the back, overall fair.
Los 1059
An 18ct yellow gold and diamond solitaire ring, the eight claw set round brilliant cut stone weighing approx. 0.25cts, ring size K 1/2, approx. 2.3g.Additional InformationThree of the claws are heavily rubbed away to the edge of the stone. The stone is drawing yellow in colour and is also of a low grade in clarity. The band is clearly hallmarked with light surface wear.
Los 106
A George V hallmarked silver mounted oak oval photograph frame, Birmingham 1923, height 25cm, with a rectangular photograph frame, Sheffield 1918, height 27cm, width 20cm (2)Additional InformationThe oval frame with some knocks to the edge, and with a couple of light creases at the bottom. The rectangular frame with some of the raised spot detailing around the edges which have worn through, hallmarks rubbed, and with a few light knocks.
Los 107
An Edwardian hallmarked silver serpentine photograph frame, Birmingham 1911, height 18cm, width 13cm, with a rectangular photograph frame with oval aperture, Sheffield 1918, height 16.5cm, width 11cm (2)Additional InformationBoth with general light age wear patina to the surface, but generally OK.
Los 1083
An 18ct yellow gold diamond and amethyst flowerhead ring, stepped with six oval amethysts and seven round brilliant cut diamonds, the central stone weighing approx 0.15ct, size Q, approx 5.1g.Additional InformationThe head of the ring measures 15.3mm, light surface abrasions to the amethysts, the diamonds are well matched and facing up white nicely. Inclusions visible with a loupe and general surface scratches to the shank.
Los 1084
An 18ct yellow gold synthetic sapphire and diamond lozenge shaped ring, the central dark blue sapphire within a framework of round cut diamonds, size P, approx 4.6g.Additional InformationThe head of the ring measures 25.5 x 9.2mm, the sapphire is dark, the diamonds are included when viewed with a loupe. Some of the tips of claws on the setting are rubbed and some would require attention. Light surface scratches to the shank.
Los 1086
An 18ct yellow gold diamond and amethyst cluster ring the central oval cut amethyst within a border of ten round brilliant cut diamonds, size Y, approx 6.7g.Additional InformationThe amethyst is approx 9.5 x 7.3mm, the diamonds are facing up white nicely and are well matched. Light surface abrasions only to the amethyst with only a couple of minor inclusions only visible with a a loupe. General surface wear but overall good condition.
Los 1087
An 18ct white gold sapphire and diamond stepped ring with central dark blue/black oval sapphire within a border of round brilliant cut diamonds, size Y, approx 10.6g.Additional InformationThe setting has been crushed on both sides, the sapphire measures approx 9.5 x 7mm. The head now compressed measures approx 20 x 20mm. General surface wear. The diamonds are well matched, slightly drawing yellow and light surface scratches to the shank.
Los 1178
An 18ct yellow gold opal and diamond cluster ring, the central oval cabochon opal within a border of twelve round brilliant cut diamonds, size N 1/2, approximately 4.1g. Additional InformationThe ring head approximately 16 x 17mm. The opal is free from any cracks or chips, only having light surface abrasions. The diamonds are facing up nicely white, are well matched, and with only light surface wear throughout.
Los 1179
A large 18ct yellow gold opal and diamond dress ring, the central oval opal flanked by ten small round brilliant cut diamonds, size O, approximately 14g.Additional InformationThere is a crack running through the opal, otherwise light surface abrasions. The diamonds are of a slightly stepped setting, and there are light surface scratches.
Los 1192
An 18ct white gold diamond and ruby cluster ring, the central oval ruby set within a border of sixteen old cut diamonds, size T, approx 7.3g.Additional InformationThe ruby measures approx 12.7 x 8.1mm, the largest diamond is approx 4mm, there are light abrasions to the surface of the ruby. The diamonds are well matched but do show signs of inclusions when viewed through a loop as does the ruby with natural flaws as you would expect. They are collet set but the ring is presented in good condition.
Los 1200
CLOGAU; a 9ct white and rose gold half eternity ring set with fifteen brilliant cut diamonds entwined with rose gold hearts, size T 1/2, approx. 3.87g, with both inner and outer box. Additional InformationLight general surface wear, otherwise appears good with no further signs of faults, damage or restorations.
Los 1201
A 9ct yellow gold amethyst and seed pearl cluster ring, with pierced shoulders, size L, approx. 6.09g, the amethyst approx. 15 x 10mm, the head size approx. 22 x 16mm.Additional InformationIn fitted box, light surface abrasions only to the amethyst, the pearls are slightly discoloured, general surface wear to the band.
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534297 Los(e)/Seite