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534338 Los(e)/Seite
Los 323
A Bang & Olufsen 'BeoVision' Horizon-40", 4K Android smart television with adjustable stand, corresponding remote control and literature.Condition report: Not tested as working, in generally good cosmetic condition with signs of light use. Some cables present, with remote, but other accessories may be needed for proper connection.
Los 316
A collection of items relating to the last British Airways Concorde flight, to include commemorative prints, brochures, souvenirs and a model of the aircraft.Condition report: The grey brochure file with silk ribbons has some light corner knocks and some water staining to the front and rear, some anomalies on the front cover centre left edge, some scuff marks to the rear, interior flap corner creased, but no signs of any tears throughout.The grey box containing the small Concorde model has a light corner knock but is otherwise in good condition.The silver menu has a fold crease on the top front right corner. a light stain mark on the front interior, small minor knocks and edge marks. No tears.
Los 213
A George IV style mahogany gallery top rectangular urn table, early 20th century., with turned simulated bamboo supports united by an "X" stretcher. 41 cm wide x 31.5 cm deep x 79 cm overall height, together with a rattan effect butlers tray and folding stand. 61 cm wide x 42 cm long x 72 cm overall height.Qty: 2Condition report: The urn table has a full length split through the centre of the top, with two further splits to the top though not full length. Some staining splatters. Structurally sound.The butler's tray and stand are in good condition, with only light signs of use.
Los 143
A pair of Canton enamel vases, Qing, 19th century, the flared rim above gilt shi-shi handles and chilong, painted with panels of figures, 45.2cm highCondition report: One vase has a chip to the underside of the rim from which issues a 3cm hairline crack and an edge chip repair. This vase also has a couple of enamel losses within the decoration, some colours appear washed out. The other vase has fine hairline cracks to the rim and body. Both bases have been over sprayed, possibly disguising where they may have been drilled to accommodate a light fitting. Regardless of the faults, both vases are very much structurally sound and together. Faults are available to view in the online images.
Los 258
A pair of 19th century patinated bronze figures of Mercury and Fortuna, each standing aloft a gust of wind from the mouth of Zephyr, on a stepped circular base, 48 cm high.Qty: 2Condition report: Mercury figure is missing his staff, and has had a repair to his right arm, at the shoulder. Some light rubbing in places, but otherwise good.
Los 54
David Bomberg (British, 1890-1957)Mount Scopus and Government House oil on canvas50.8 x 67.3 cm. (20 x 26 1/2 in.)Painted in 1923Footnotes:ProvenanceWith The Leicester Galleries, LondonThe Collection of Lt. Col. and Mrs. Robert SolomonWith Ben Uri Gallery, London, 21 June 1968, where acquired byMr MarguliesHis Estate sale; Sotheby's, New York, 17 December 2013, lot 9, where acquired by the present ownerPrivate Collection, IsraelExhibitedLondon, The Leicester Galleries, David Bomberg, Paintings of Palestine and Petra, February 1928, cat.no.451Jerusalem, The Israel Museum, David Bomberg in Palestine, 18 October 1983–18 January 1984, cat.no.16 (ill.)London, Ben Uri Gallery, David Bomberg in the Holyland, 1923-1927, 30 January-29 February 1984It was through his artist friend Sir Muirhead Bone (1876-1953) that Bomberg's 1923 Palestine odyssey materialised. The two had connected the year before during the Canadian War Memorial project, and their original memorandum for the journey was drawn up to present to the Zionist Organisation through its Political Secretary, Leonard Stein, as Sarah MacDougall comments:'Bone personally vouched for Bomberg, writing to Stein that the Zionist Oganisation would benefit from 'Palestine being seen through the eyes of at least one imaginative artist as well as through the thousand cameras', emphasising the importance of a painterly response 'on the spot' rather than simply using photographs, and equally understanding Bomberg's need for 'usefulness'. He considered Bomberg's less avant garde works the right approach for the project, and although this may not have been Bomberg's own inclination, this became the type of work which typified much of his output in Palestine, representing a move away from modernism towards more conventional approaches in the immediate postwar period.' (Sarah MacDougall & Rachel Dickson, Bomberg, Ben Uri Gallery and Museum, London, 2017, p.103).Turned down by the institution, Bone then approached the Palestine Foundation Fund (Karen Hayesod), established in 1920, who were more accommodating. Although the original plan of a salary equivalent to £400 a year for Bomberg to tour the region dropped significantly, to just £60.In April 1923, Bomberg and his wife Alice, travelled to Jerusalem and were introduced to Clifford Holliday, Chief Architect and Town Planner of the city. MacDougall continues:'For the next four years the structure and colour of the cityscape (likewise in Petra and Jericho) became his abiding passion, and he almost entirely rejected the figure as a separate subject. Bomberg's eyes opened to Jerusalem's unique topography, its startling reality was not at all the Italian hilltop settlement he had envisaged. And one can only imagine the extraordinary impact the dazzling light can have had on him, only recently removed from the oppressiveness of the East End and the dark horrors of the trenches, describing himself as 'a poor boy from the ghetto' who had 'never seen the sunlight before''. (Op. cit. p.104).The present painting, completed during Bomberg's first year in Jerusalem, conveys this 'new' light experience to great effect through the artist's palette choice; pure white to define town walls, buildings in the foreground and the clouds above, with the palest of yellow employed to describe the bleached, semi-desert landscape of Mount Scopus beyond. The building of the title, inaugurated on 10 April 1910, was part of the Augusta Victoria Compound on the northern side of Mount of Olives in East Jerusalem and named for Augusta Viktoria of Schleswig-Holstein, wife of German Kaiser Wilhelm II. It originally functioned as a church hospital but following Germany's defeat at the end of World War I and the subsequent British occupation, the complex served as the official residence (Government House) of the British High Commissioner of the Palestine Mandate, from 1920-1927. The focal point of Mount Scopus and Government House is the 60-metre high church tower on the horizon, badly damaged during a 1927 earthquake.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
Los 55
Michael Andrews (British, 1928-1995)Landscape signed 'M Andrews' (lower right)oil on canvas66.7 x 55.9 cm. (26 1/4 x 22 in.)Footnotes:ProvenancePrivate Collection, U.K.Michael Andrews is frequently associated with the so-called School of London painters such as Bacon, Freud, Kossoff and Auerbach. He shared a belief with these artists in representational painting and in early important works such as Colony Room I and II, The Deer Park (all 1962) and Good and Bad at Games (1964-8), in keeping with his peers exploration of the human condition was Andrews's primary concern. However, the later three decades of his career was dominated by landscape painting. Epic depictions of the Australian outback, the Scottish Highlands, and his native Norfolk number among his most impactful works, as well as the late Thames Estuary series which dominated his final years. Whilst the present work is seemingly undated, and the location is unknown, the topography bears resemblance to Andrew's 1960 oil Digswell Man II (Arts Council Collection), and elements of the palette with the associated Study for a Man in Landscape (Digswell) (Tate Gallery, London). In Landscape Andrews has employed economic yet varied mark making to describe a road leading the eye to a small cluster of rural buildings and telephone poles. The tones throughout are purposefully selective and evoke crepuscular light. As is typical among his works, elements of the composition such as the foliage or fields to the left are reduced to the merest suggestive marks, awarding the otherwise rather prosaic scene an intoxicating headiness which is idiosyncratic to Andrews.The authenticity of the present work has been confirmed by the Artist's estate and Dr James Hyman.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 22
Frederick Edward McWilliam (British, 1909-1992)Lying Down Figure signed with initials and numbered 'MCW/1/5' (on the back of the right leg)bronze with a green/brown patina68.6 cm. (27 1/2 in.) wideConceived in 1961Footnotes:ProvenancePrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, F.E. McWilliam, May-June 1963, cat.no.6 (another cast)San Francisco, British Council, British Art Today, 1962; this exhibition travelled to Dallas, 1962 and Santa Barbara, 1963 (another cast)Banbridge, The F.E. McWilliam Gallery and Studio, F.E. McWilliam at Banbridge, September 2008-February 2009 (another cast)Drogheda, Highlanes Gallery, F.E. McWilliam at Banbridge, February-April 2009 (another cast)LiteratureRoland Penrose, McWilliam, Alec Tiranti, London, 1964, cat.no.104 (ill.b&w, another cast)Denise Ferran, F.E. McWilliam at Banbridge, F.E. McWilliam Gallery, Banbridge, 2008, p.75 (ill.b&w, another cast)Denise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, p.134, cat.no.236 (ill.b&w, another cast, as Lying Down Figure or Reclining Figure VI)The present work is one of McWilliam's earliest reclining female figures in bronze and, along with similar works from the same period, acts as a precursor to the celebrated 'Girls' series of 1969-71. Holman comments of the 1961-63 reclining figures; 'in these new sculptures, the body's curves have been straightened into geometric shapes and large facets which catch the light. Indeed it is at this point that light becomes a much more important feature of his bronzes' (Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, p.61).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 15
Sir William Nicholson (British, 1872-1949)Lilies of the Valley signed 'Nicholson' (lower left)oil on panel39.4 x 27 cm. (15 1/2 x 10 5/8 in.)Painted in 1927Footnotes:ProvenanceWith Redfern Gallery, London, 1943Lady CochranWith Browse & Darby, London, 1973With James KirkmanReginald Field GlazebrookHis sale; Sotheby's, Brynbella, 2 June 1994, lot 354, where purchased byBrowse & Darby, on behalf ofLady DugdaleExhibitedLondon, Beaux Arts Gallery, Pictures and Drawings by William Nicholson, 30 June-30 July 1927, cat.no.41London, Redfern Gallery, Summer Exhibition, 5 August-22 September 1943, cat.no.21Eastbourne, Towner Art Gallery, William Nicholson: Painter: Landscape and Still-life, 4 November-31 December 1995, cat.no.22; this exhibition travelled to Cambridge, Kettle's Yard, 6 January-25 January 1996, Nottingham, Castle Museum, 2 March-28 April 1996, London, Browse & Darby, 2 May-1 June 1996London, The Royal Academy of Arts, William Nicholson: British Painter and Printmaker, 30 October-23 January 2005, cat.no.39LiteratureLillian Browse, William Nicholson, Rupert Hart Davis, London, 1956, cat.no.376Andrew Nicholson (ed.), William Nicholson, Painter, The William Nicholson Trust, London, 1996, p.204 (col.ill)Sanford Schwartz, William Nicholson, Yale University Press, London, 2004, p.208 (ill.b&w)Sanford Schwartz (ed.), The Art of William Nicholson, Royal Academy of Arts, London, 2004, p.92 (col.ill.)Patricia Reed, William Nicholson, Catalogue Raisonné of the Oil Paintings, Modern Art Press, London, 2011, p.463, cat.no.583 (col.ill.)'Lilies of the Valley, where the white flowers are in a glass before a yellow wall in a bright light, has a radiant sweetness that hardly seems matched by Nicholson's earlier work. There is nothing especially sweet, though, about the masterful laying of tones here, from the palest of shadows to the white of the flowers, the whole done, it appears, with breakneck speed.' (Sanford Schwartz, William Nicholson, Yale University Press, London, 2004, p.208)We are grateful to Patricia Reed for her assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Los 34
William Turnbull (British, 1922-2012)Key Torso stamped with monogram, numbered and dated '2/9/81' (at the back)bronze with a light brown patina on a stone base42.3 cm. (16 5/8 in.) (excluding base)Conceived in 1981Footnotes:ProvenanceWith Waddington Galleries, London, where acquired by the present ownerPrivate Collection, U.K.LiteratureAmanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2005, p.154, cat.no.207 (ill.b&w, another cast)During the mid-1950s William Turnbull created a sculptural group of semi-abstract female figures of considerable size, knows as his Idol series. He returned to the theme, using new titles, again in the late 1970s and early 1980s. Amanda A. Davidson comments on them:'As artworks rather than as equipment they create an experience of pieces of sculpture as physical and potentially practical objects. They achieve this through their overt reference to tools. They go beyond the earlier Idols by creating new versions of archetypal figures from unusual sources.' (Amanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation, Much Hadham, 2005, p.62)One of these 'practical objects' was the key. With Key Torso the sculptor has taken an everyday object and transformed it into a human presence. Its curved outline with deep notches either side, whilst reinforcing the work's genesis, also serves to describe the contours of a female figure; the incisions being the narrow waist and wide hips. The subtlest of protuberances denote the figure's breasts, and throughout, the surface is covered with his trademark dots, shallow circular motifs which Davidson refers to as 'designs' and the sculptor himself as 'signs'. They are on the fringes of the sculpture at regular intervals, but also run vertically down its centre, from the head to its base, as well as cutting across horizontally and diagonally in the lower section to suggest the pubic area. Regarding this aspect of his work, Davidson comments:'The marks often come from the personal vocabulary of symbols that Turnbull has been exploring throughout his career. There are no predetermined public meanings and there is no secret code for the initiated. Some of the marks can be interpreted as indicating faces, hair, limbs and genitals but there can be many interpretations of these marks and the viewer is free to come to their own readings.' (Op. cit. p.65)Key Torso was made at a time when Turnbull had begun to be more adventurous and experimental with different-coloured patinas. It can be no coincidence given the object of the title, which is traditionally made out of brass or nickel-brass, that he has chosen a similar colour to these alloys, in addition to smoothing the surface right down so as to appear metallic.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 11
Spanish school of the XVII century."Santa Clara".Oil on copper.With period frame.Presents faults and repainting. Jumps in the painting.Measurements: 23,5 x 18 cm; 28,5 x 23,5 cm (frame).Devotional canvas that presents St. Clare standing, half-body and slightly turned to one side, in a composition that avoids excessive frontality, using the position of the figure to introduce three-dimensionality in space, which otherwise remains undefined, only a neutral background with some curtains at the top. She holds a rich gold monstrance in her hands, meticulously worked with special attention to the contrasts of light and shadow.Saint Clare of Assisi was an Italian saint born in 1193 into a wealthy and powerful family, from a very young age she was assiduous in prayer and mortification, detached from worldly things and deeply spiritual. She felt great compassion and love for the followers of St. Francis, whom she cared for and provided for through a maid, since she was forbidden to see and speak to them. Her conversion to a life of full holiness was effected when she heard a sermon of St. Francis of Assisi in 1210, when she was eighteen years old. Two years later she ran away from home and went to live with a group of nuns close to St. Francis. Saint Clare was the foundress of the Poor Clares, becoming superior of the convent of San Damiano, always showing great dedication and deep spiritual strength. During her lifetime she performed several miracles, and shortly after her death, in 1255, she was canonized by Pope Alexander IV. Her main iconographic attribute is the monstrance, although she can also carry a crosier, due to her character of foundress of the Poor Clares, and a lily, symbol of purity.
Los 14
Spanish school of the late sixteenth century."Virgin.Oil on panel.With important period frame.Measurements: 41 x 37 cm; 64,5 x 59 cm (frame).The image of the Virgin stands out for its fine features and the beauty of its proportions, which are highlighted even more thanks to the focus of white light that focuses on the face of Mary. The Virgin appears wearing a dark veil, which almost completely hides her hair, over which another cloth has been placed, with a blue background decorated with golden embroidery, with a Greek cross on her forehead. Represented very young, it shows the Virgin from the front, looking at the viewer. The work is completed with an important period frame, ornamented with rosettes arranged on a helicoidal background.
Los 17
Andalusian School, XVIII century."Saint Rosalia".Oil on canvas.Measurements: 51,5 x 52 cm; 83 x 65 cm (frame).Devotional painting representing St. Rosalia of Palermo, wearing a crown of flowers and taking in his hands a stick with lilies that approaches his heart. With her gaze looking upwards, her rounded features are ecstatic. From the whiteness of her face, slightly flushed on her cheeks, emanates a light that turns into golden shades projecting on the background, so that her flesh seems to radiate divine light. The robe has been skillfully draped, contributing to the dynamism of the portrait. The palette is rich in carmine, ochre and mauve tones that accompany the soft shades of the flesh tones and the gilding of some details.Rosalia of Palermo was an Italian saint of the 12th century, whose cult was promoted by the Benedictines. She is considered a protector against infectious diseases, such as the plague, and is also invoked to seek her protection in difficult times. Rosalia lived in solitude, poverty and penance, and according to her hagiography she performed miracles such as the extinction of the plague that ravaged her native Sicily. Patroness of Palermo, she enjoys great devotion in Sicily. Saint Rosalia was an important subject in Italian Renaissance and Baroque painting, particularly in the sacre conversazioni (group images of saints flanking the Virgin Mary) of artists such as Riccardo Quartararo, Mario di Laurito, Vincenzo La Barbara and possibly Antonello da Messina. But it was the Flemish master Anthony Van Dyck (1599-1637), who was caught in Palermo during the plague of 1624, who produced the largest number of paintings of her. Saint Rosalia is usually depicted as a young woman with flowing hair, wearing a Franciscan hood or a crown of flowers and leaning toward the city of Palermo in her peril.
Los 3
Spanish school end of XVIII century."Immaculate Conception.Oil on glass.Measurements: 27 x 20 cm., 40 x 33 cm. (frame).Oil on canvas of vertical format and devotional character. The author collects in this work the figure of the Virgin according to the advocation of the Immaculate Conception. This theory is based on the presence of the crescent moon under the Virgin's feet and the appearance of the flowers that are arranged in the lower part of the canvas. It is true that in this case the author has not collected all the litanies linked to the presentation of the Immaculate Conception. However, he has opted for a sober composition, eliminating any detail that could distort the viewer's vision. On a neutral background is the monumental figure of the Virgin, immersed in a break of glory of golden light and quality. The Virgin places her hands on her chest and directs her gaze towards the sky in an attitude of prayer. Dressed in a red tunic and dark cloak, the artist removes the figure from the idea of universality and goodness associated with the white tunic and blue cloak and confronts us as spectators with a mother suffering for her son.
Los 4
Spanish School, XVIII century."Virgin with Child and floral garland".Oil on burlap.Measurements: 88 x 77 cm.This painting, of devotional character, welcomes a typically baroque composition by placing the scene of religious theme in the center of an ornamental garland. This is made up of a variety of floral species and serves as a frame for the Virgin and Child. In the maternal-filial embrace the painter expresses a humanized tenderness. The cloth that wraps the child and the golden crowns contrast in expressive backlighting with the black background and the light flesh tones. The dark background gives relief to the flowers and figures. This type of work achieved great recognition and popularity of the time, becoming a composition widely repeated by artists such as Mario Nuzzi, Paolo Porpora, Giuseppe Recco, Giovanni Paolo Spadino and Margarita Caffi, among many others, each of them brought their personal style but all of them kept the composition of the use of the garland as a framework for a religious theme.
Los 6
Regency period frame. France, early 18th century.Carved wood. With traces of gilding.Measurements: 83,5 x 66 cm (interior light); 107 x 89 cm (total).French frame from the Regency period made of carved wood and with remains of gilding. It has a rectangular structure decorated with several ornamental moldings based on an intricate vegetal design.
Los 8
Spanish school of the XVII century."Virgin and Child.Oil on canvas.Measurements: 35 x 30 cm; 50 x 45 cm (frame).This canvas represents the Virgin Mary with the Child in her arms, both embracing each other tenderly. The composition is placed in a dark interior, cutting the figures on a neutral background that is illuminated by the soft light that radiate their figures. The Virgin wears pink inner tunic and blue mantle and golden veil, colors that allude respectively to purity, the future Passion of her son, the concepts of truth and eternity and the divine Glory. The Child, on the other hand, wears a red tunic, symbol of the Passion of Christ.
Los 19
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Escarpments signé et daté 'GHIKA 59' (en bas à droite)huile sur toile33 x 47cm (13 x 18 1/2in).Peint en 1959.signed and dated (lower right)oil on canvasFootnotes:ProvenanceLady Nöel Evelyn 'Peter' Norton, London.Thence by descent to the present owner.ExposéAthens, Benaki Museum, N. Hadjikyriakos-Ghika, the Apollonian - the Dionysian, November 22, 2006 - January 15, 2007, no. 215 (illustrated in the exhibition catalogue, p. 219).LittératureK.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, p. 188 (mentioned), p. 193 (illustrated).Imbued with the breath of the earth and the refractions of Greek light, Escarpments is a captivating work of dynamic lines, lush colours and explosive forms that spin and swirl around agile webs, so that the whole composition seems like an ever-growing organism immersed in a constantly changing and revived atmosphere.1 Trees, branches, leaves, bushes and flowers are set in motion, engaged in a perpetual Dionysian dance, while the crooked stone walls that inform so much of the Greek insular landscape and rank among the painter's signature subjects, emerge like ancient ruins from the luxuriant flora.1 See D. Iliopoulou-Rogan, N. Hadjikyriakos-Ghika, the Apollonian-the Dionysian, exhibition catalogue, Benaki Museum, Athens 2006, p. 52.Imprégnée du souffle de la terre et des réfractions de la lumière grecque, Escapments est une œuvre captivante, faite de lignes dynamiques, de couleurs luxuriantes et de formes explosives qui s'enroulent et tourbillonnent autour de points agiles, de telle sorte que toute la composition ressemble à un organisme en perpétuelle croissance, immergé dans une atmosphère qui ne cesserait de se transformer et de revivre. Les arbres, les branches, les feuilles, les buissons et les fleurs sont représentés en mouvement, engagés dans une danse dyonisiaque perpétuelle, tandis que les murs de pierre tortueux, qui rappellent tant le paysage insulaire grec et font partie des thèmes récurrents de l'artiste, émergent comme des ruines antiques de la flore luxuriante.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Los 30
Nikolaos Gyzis (Greek, 1842-1901)L'offrande signé et daté 'N.Gysis Muenchen 74' (en bas à gauche)huile sur toile120 x 80cm (47 1/4 x 31 1/2in).Peint en 1874.signed and dated (lower left)oil on canvasFootnotes:ProvenanceVienna Arts Society, 1875. Tzirakopoulos collection, Athens. (from Eikones,magazine, 1960)Private collection, Athens.ExposéVienna Art Exhibition, 1875.Athens, Nicholaos Gysis 1842-1901, The Great Master, National Gallery and Alexandros Soutzos Museum, October 8 - December 10 2001, no. 20 (discussed, pp. 37-38, 131 and illustrated in the exhibition catalogue, fig. 16, p. 34).LittératureGysis's letter, April 7, 1886 (mentioned).Estia magazine, vol. XIX, no. 470, January 1, 1885, p. 34 (discussed).Kleio magazine, vol. I, no. 2, January 15/27, 1885, pp. 30-31 (mentioned), p. 25 (illustrated).K.F. Skokos, National Calendar of the Year 1897, Athens 1897, p. 20 (mentioned).Panathenea magazine, Homage to Nicholaos Gysis, vol. I, no.11, March 15, 1901, pp. 426-427 (discussed).M. Montandon, Gysis, Derlag von Delhagen & Klafing editions, Bielefeld und Leipzig, 1902, pp. 57, 69 (mentioned), p. 28, fig. 22 (illustrated).La Revue de l'Art Ancien et Moderne, vol. IX, 1903, p, 303.The Studio magazine, vol. XXVII, 1903, p. 203.Allgemeines Lexikon der Bildenden Künstler, Verlag von E.A. Seemann, Leipzig 1922, vol. XV, p. 380 (mentioned). Album of Tinian Artists - N. Gysis, D.I. Kalogeropoulos, X. Sochos ed., Athens 1928, p. 23-24 (mentioned).Dialexis magazine, vol. I, no. 3-4, February 29, 1928, p. 85 (mentioned). Ellinika Grammata magazine, vol. II, no. 7, March 26, 1928, p. 238 (mentioned).Eklogi magazine, vol. V, no. 2, February 1949, p. 203 (discussed).Nicholaos Gysis's Letters, G, Drossinis, L, Koromilas ed., Eklogi editions, Athens 1953, p. 139 (mentioned), p. 57 (illustrated).Great Creators, Zoi edition, Athens 1954, pp. 211-212 (discussed).Eikones magazine, no. 227, February 26, 1960, p. 36 (illustrated).T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1960s, no. GR TITSpit f216-3, p. 2 (mentioned). S. Lydakis, Geschichte det Griechischen Malerei des 19. Jahrhunderts, doctoral dissertation, Prestel-Verlag editions, Munich 1972, p. 235 (mentioned).The Greek Painters, vol. I, From the 19th Century to the 20th, Melissa editions, Athens 1974, p. 142 (mentioned).S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. 3, Melissa editions, Athens 1976, pp. 363-365 (discussed), p. 193, fig. 291 (illustrated).A. Xydis, Propositions for the History of Modern Greek Art, vol. II, Olkos editions, Athens 1976, p. 15 (mentioned).M. Papanikolaou, Greek Genre Painting of the Nineteenth Century, p. 86 (mentioned), p. 183 (listed), fig. 17 (illustrated).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. III, p. 298 (mentioned). M. Kalligas, Nicholas Gysis, National Bank of Greece Cultural Foundation, Athens 1981, pp. 52, 217 (discussed).K. Didaskalou, Kompositionsentwurfe und Studienvon Nikolaus Gysis, Munich 1986, pp. 96-97.K. Didaskalou, Genre- und Allegorische Malerei von Nikolaus Gysis, doctoral dissertation, Munich, 1991, p. 39 (mentioned).N. Misirli, Gysis, Adam editions, Athens 1995, p. 98 (discussed), p. 370 (catalogued), p. 99, fig. 47 (illustrated).Epta Imeres - Kathimerini newspaper, Nicholaos Gysis, March 9, 1997, p. 4 (mentioned).Dictionary of Greek Artists, Melissa editions, vol. I, Athens 1997, p. 324 (mentioned).Nicholaos Gysis and his Era, exhibition catalogue, Elitrochos editions, Patra 1999, p. 19 (mentioned).Nicholaos Gysis 1842-1901, On the Occasion of the Centenary of his Death, 2001 Calendar, National Gallery and Alexandros Soutzos Museum, Athens 2000 (illustrated).Ellinomouseion, Six Centuries of Greek Painting, vol. I, Athens 2001, p. 120 (mentioned).K. Didaskalou, Gysis in Tinos, 100 Years from the Death of the Artist, exhibition catalogue, Panhellenic Sacred Foundation of the Evangelistria in Tinos, 2001, p. 63 (mentioned).S. Lagouros, Tinos, Art and Artists, Tinos editions, Athens [200-], p. 34 (mentioned), p. 9 (illustrated).F. Yiofyllis, Four Tinian Artists, Erinni editions, Athens 2003, p. 77 (mentioned).Y. Papaioannou, Nikolaos Gysis, Ta Nea editions, Athens 2006, p. 19 (mentioned).N. Misirli, Greek Painting 18th-19th Century, Adam editions, Athens 2006, p. 97 (discussed).A. Paka, Female Figures in Greek Painting from the Late 19th to the Early 20th Century: a Feminist Approach, doctoral dissertation, Aristotelian University of Thessaloniki, Thessaloniki 2012, pp. 142-146 (discussed), fig. 28 (illustrated).S. Kotidou, European and Greek Symbolism in Painting: Convergences and Divergences, doctoral dissertation, Aristotelian University of Thessaloniki, Thessaloniki 2015, p. 135 (discussed), p. 134, fig. 53 (illustrated).'Look how wonderfully the artist has painted this beautiful inspiration of his! The two women, exhausted from the long and uphill hike, have paused. The one looks upwards to the mountaintop where a monastery is perched like an eagle's nest. The other is the story's main character. The paleness of her face, her bare feet –those gentle feet that are probably bleeding from the sharp rocks– the candle, and the votive offering she's holding, indicate that she is the heroine of the scene –the one who fulfills her vow barefoot. The two women are silhouetted against a rocky mountain backdrop, whose precipitous side cuts through the horizon, allowing us only to see some traces of a distant beach and a few floating luminous clouds. The mother, with her one hand resting on the rock and the other embracing the young girl, turns her gaze to the Saint up there as if she is praying. What should one think of the young kore in the long dress? Did she just recover from an illness, or did the life of her first child was saved, and so she came to fulfill her vow? On the contrary, the offering she's holding in her hand suggests that some kind of erotic drama, some desire of the heart which was satisfied made her set out for the monastery she's about to ascend to.How many dormant emotions does this beautiful and Greek picture of Gysis evoke?'- Estia magazine, January 1, 1885.A masterwork of 19th century Greek genre painting and a milestone in Gysis's artistic development, the famed L'offrande is a picture of genuine Greek character, distinguished by romantic disposition, expressive power, and solemn grandeur. Alluring and psychologically acute, it shows no signs of idealisation, its beauty emanating from within, depending on the honesty of representation and genuineness of character. Warm, earthy colours and lively brushwork build up a vibrant and moving composition, while the generalised rendering and economy of detail point to the artist's concern with purely pictorial issues.The beautiful countenance of the young female figure, captured in profile and modelled by strong contrasts of light and shadow, has a sculpture-like immobility, recalling the timeless, idealised beauty of ancient Greek statues. Surrendering her individual specificity, the young Greek takes on a symbolic quality, enhancing the poetry of the scene. The painting is bathed in a warm light, casting the figures in relief and lending a glowing quality to their faces. Gysis often used two kinds of lighting in his paintings: a general, diffuse lighting and a local one that highlighted the figures or objects he wanted to be particularly pronounced.1 Here, to accentuate the dramatic effect, he used two local lightings, one for the monastery and the other for the young maiden's face. However, despite the suspenseful moment in the narrative, the painting conveys a sense of tenderness and affection, and displays a nightscape clad in the deep blues of the artist's native ... For further information on this lot please visit Bonhams.com
Los 31
Nikolaos Gyzis (Greek, 1842-1901)Carnaval à Athènes signé des initials 'N. G.' (en haut au centre)huile sur panneau27 x 40.5cm (10 5/8 x 15 15/16in).signed with initials (upper middle)oil on panelFootnotes:ProvenanceThe artist's wife, Artemis Gysis.Heinemann Gallery, Munich.Private collection, Athens.Christie's London, Greek Sale, 24 May 2000, lot 66.Acquired from the above sale by the present owner.LittératureNicholaos Gysis 1842-1901, The Great Master, exhibition catalogue National Gallery and Alexandros Soutzos Museum, Athens 2001, shown in a photograph with the artist in his studio, c. 1899.A precious gem kept in the artist's possession until his passing in 1901 and shown in a well-known photograph of the artist's studio at the Munich Academy taken by his student Elias van Bommel the Younger around 1898,1Carnaval à Athènes lovingly chants the unspoiled traditions of 19th century Greece.A master of genre painting, Gysis captures a vignette of urban revelries set in a spartan setting enlivened less by the figures' movements and gestures than by the artist's swift, energetic brushstrokes and wonderful passages of bright colour. Concerned with purely pictorial issues, he eliminates all detail and focuses on light and shadow juxtapositions to convey an evocative atmosphere of mystery and magic that perfectly matches the sense of awe and wonder kindled by carnival and masquerade. The painting is bathed in light which invades the scene from the left, highlighting the figures and objects in the room and making them glow with a shimmering luminescence. Two counterbalancing diagonals—the man's form in the background painted in a magnificent Gysis red, and the woman's leaning body in the front—draw the eye to the brilliant white of the tablecloth that brims over with a joyful mood, demonstrating Gysis's ability to engage the viewer in the narrative by relying on purely pictorial means. This charming work is the final link to Gysis's Carnival in Athens, which was awarded a gold medal in the 1892 International Exhibition in Munich. Held by the Bavarian State Painting Collections and currently on loan to the Museum of the City of Athens, it follows the same narrative sequence featuring all the individual compositional characteristics of the Greek Sale picture, namely the female figures on the left, the old man with grandchild, the male figures in the back, the mother holding her child in the foreground and the jubilant masqueraders invading from the right. 1 For a photograph of the artist's studio with lot 31shown on the lower right, see M. Katsanaki, Glory by Nikolaos Gysis, exhibition catalogue, Benaki Museum, Athens 2021, p. 46.Véritable joyau conservé par l'artiste jusqu'à son décès en 1901, représenté sur une photographie célèbre de l'atelier de l'artiste à l'Académie de Munich, prise par son élève Elias van Bommel le Jeune vers 1898, Carnaval à Athènes chante avec amour les traditions immuables du 19ème siècle grec.Maître de la peinture de genre, Gysis nous présente ici une vignette des festivités urbaines qui marquent le carnaval, saisies dans un décor spartiate, animé moins par les mouvements et les gestes des personnages que par la touche rapide et énergique de l'artiste et des percées magnifiques de couleurs éclatantes. Exclusivement passionné par des considérations picturales, il élimine tous les détails et se concentre sur des juxtapositions d'ombre et de lumière, afin de créer une atmosphère de mystère et de magie qui rend parfaitement l'impression de fascination et d'émerveillement suscitée par le carnaval et les bals masqués.La peinture baigne dans une lumière qui envahit la scène à partir de la gauche, illuminant les visages et les objets de la pièce et les faisant briller d'une lumière chatoyante. Deux diagonales croisées – l'homme à l'arrière-plan peint dans le magnifique rouge de Gysis, et la femme penchée au premier plan – attirent l'œil sur le blanc brillant de la nappe, qui répand une atmosphère joyeuse sur la toile, démontrant ainsi la capacité de Gysis à entraîner le spectateur dans la narration en s'appuyant sur des moyens purement picturaux.Cette œuvre charmante est le dernier tableau que Gysis a consacré au thème du carnaval à Athènes ; précédemment, une autre œuvre consacrée au même thème a reçu la médaille d'or à l'Exposition internationale de Munich en 1892. Cette autre œuvre, propriété des collections de peinture de l'État de Bavière, est actuellement prêtée au Musée de la Ville d'Athènes, suit la même séquence narrative et présente toutes les caractéristiques de composition qui figurent dans celle qui est aujourd'hui mise en vente, à savoir les personnages féminins sur la gauche, le vieil homme avec son petit-fils, les personnages masculins à l'arrière-plan, la mère tenant son enfant au premier plan et les personnages costumés et masqués jubilants qui font irruption sur la droite.For further information on this lot please visit Bonhams.com
Los 70
Theofilos Hadjimichael (Greek, 1871-1934)Alexandre le Grand au combat signe en grec (en bas a droite) et inscrit (en haut)pigments naturels sur carton contrecollé sur panneau69 x 100.5cm (27 3/16 x 39 9/16in).signed in Greek (lower right) and inscribed (on the upper part) natural pigments on cardboard laid on boardFootnotes:Provenance Koumbas collection, Lesvos.Private collection.LittératureM.G. Moschou, Theofilos Hadjimichail Self-Biographed, doctoral dissertation, University of Athens, Athens 2005, Annex Illustrations, vol. I, p. 8 (mentioned), fig. I.40 (illustrated).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 114 (illustrated).When the painter Orestis Kanellis asked Theofilos to paint for him a landscape, the artist replied fervidly: 'I will paint you, instead, Alexander the Great rushing at the enemies with his sword.'1 Mighty, regal and handsome as an Olympian god, his golden armour flashing lightning, Alexander the Great, riding Bucephalus, commands his brave Macedonian infantry against King Porus of India in the victorious battle of the Hydaspes River (326 BC).2 History is filtered through the artist's rich imagination and transformed into the enthusiasm3 sparked in him by valour and heroic achievement. Gallantry is indicated through the repetition of pictorial and iconographic conventions, an approach to painting rooted in Byzantine and folk tradition and reminiscent of descriptions found in demotic songs. In this magnificent canvas of sparkling light and brilliant colour, Theofilos explores a mythical, ideal world that stirred his imagination since his early childhood. As noted by Nobel laureate O. Elytis, his grandfather used to sit him on his knees and recount old stories about Alexander the Great until the little boy closed his eyes and dreamt about the great deeds of this hero of Hellenism.4 Theofilos kept alive Alexander's tradition, which had grown since the period of the Ottoman Occupation as the incarnation of the dreams of liberation and, later, of the visions of the Great Idea.'5 1 See G. Petris, 'The Painter of the Folk Myth' [in Greek], Epitheorisi Technis magazine, no. 75, March 1961, pp. 198-200.2 A lengthy description of the historic event (with inaccurate date) is inscribed at the top of the painting. 3 Theofilos was so fascinated with the radiance, glamour and regal grace of the Macedonian king that he used to parade the streets dressed as Alexander the Great, with helmet, sword, buskins and accoutrements made and painted by himself, followed by a troop of boys similarly attired.4 O. Elytis, The Painter Theofilos [in Greek], Asterias editions, Athens 1973, p. 24.5 See Alexander the Great in European Art, exhibition catalogue, Organisation for the Cultural Capital of Europe, Thessaloniki 1997, p. 264.Lorsque le peintre Orestis Kanellis a demandé à Theofilos de lui peindre un paysage, l'artiste a répondu avec enthousiasme : « Je vais plutôt vous peindre Alexandre le Grand, se ruant sur ses ennemis avec son épée.» Puissant, majestueux et beau comme un dieu de l'Olympe, son armure dorée scintillant dans la lumière, Alexandre le Grand, chevauchant Bucéphale, commande sa valeureuse infanterie macédonienne contre le roi Porus d'Inde dans la bataille victorieuse des rives de l'Hydaspe (326 av. J-C). L'histoire est filtrée par l'imagination foisonnante de l'artiste et transformée par l'enthousiasme3 que lui inspirent la valeur et les actes héroïques. La bravoure est montrée par la répétition de conventions picturales et iconographiques, une approche de la peinture qui trouve ses racines dans la tradition byzantine et populaire et rappelle des descriptions présentes dans les chants démotiques.Dans cette toile magnifique qui irradie de lumière et de couleur, Theofilos explore un monde mythique idéal qui a nourri son imagination depuis sa toute petite enfance. Comme l'a fait observer le Prix Nobel O. Elytis, son grand-père avait l'habitude de l'asseoir sur ses genoux et de lui raconter de vieilles histoires sur Alexandre le Grand jusqu'à ce que le jeune garçon ferme les yeux et rêve des hauts faits de ce héros de l'hellénisme. Theofilos a maintenu vivante la tradition d'Alexandre, qui n'a cessé de croître depuis la période de l'occupation ottomane comme l'incarnation des rêves de libération et, plus tard, des visions de la Grande Idée ». For further information on this lot please visit Bonhams.com
Los 9
Théodore Jacques Ralli (Greek, 1852-1909)Fille assise sur un mur de pierre, filant la laine signe 'Ralli' (en bas à gauche)huile sur toile55 x 46.5cm (21 5/8 x 18 5/16in).signed (lower left)oil on canvasFootnotes:ProvenancePrivate collection, Canada.Private collection, Athens. This delightful vignette of peaceful rural life evokes a noble sentiment of tenderness and relaxed meditation. Bathed in diffuse light and set against a shallow backdrop of ascetic simplicity, the graceful young sitter strongly contrasts with the dark interior, suggested rather than shown through the opening on the wall. Holding her spindle and distaff, and with downcast eyes, she is completely absorbed in spinning the fibres, conveying to the viewer the era's moral values of modesty and virtue. The dean of Greek orientalist painters, Ralli travelled extensively across Greece, faithfully recording the countenance and traditional costumes of peasant women in secular or religious settings. In his virtuoso technique, deft use of subtle gradations and loving attention to detail, he follows on the footsteps of his great teacher Jean-Léon Gérôme. Here, relying on balanced composition, harmony of colour values, firm modelling and a personal spirit of solemn grandeur and noble elegance, he fuses this rural scene into a seductive work of art.Cette délicieuse vignette de la vie rurale paisible évoque un noble sentiment de tendresse et de méditation tranquille. Baignant dans une lumière diffuse et placée contre un arrière-plan serré d'une simplicité ascétique, cette gracieuse jeune fille contraste fortement avec l'intérieur sombre, suggéré plutôt que montré par l'ouverture dans le mur. Tenant son fuseau et sa quenouille, les yeux baissés, elle semble totalement occupée à filer la laine, et complètement absorbée par sa tâche. L'ensemble suggère immédiatement les valeurs morales de l'époque, faites de modestie et de vertu.Doyen des peintres orientalistes grecs, Ralli a beaucoup voyagé dans toute la Grèce, enregistrant fidèlement les visages et les costumes traditionnels des paysannes, dans des scènes de la vie courante ou des décors religieux. Avec sa technique de virtuose, son utilisation habile de gradations subtiles et l'attention amoureuse qu'il porte au détail, il s'inscrit parfaitement dans la lignée de Jean-Léon Gérôme, dont il fut l'élève. Dans cette œuvre, caractérisée par une composition équilibrée, une belle harmonie de couleurs, une parfaite maîtrise du trait et une interprétation personnelle de la grandeur solennelle et de la noble élégance du sujet, il transforme cette scène rurale en une œuvre d'art séduisante.For further information on this lot please visit Bonhams.com
Los 97
Yiannis Spyropoulos (Greek, 1912-1990)Phaos signé en grec (en bas à droite) ; signé, titré et daté 'JANNIS SPYROPOULOS – PHAOS – Athens - 1963' (sur le châssis)huile et technique mixte sur toile97 x 130cm (38 3/16 x 51 3/16in).signed in Greek (lower right); signed, titled and dated (on the stretcher) oil and mixed media on canvasFootnotes:ExposéNew York, World House Galleries, Jannis Spyropoulos, April 30 - May 25, 1963, no. 25 (listed and illustrated in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Yannis Spyropoulos, The Classic of Abstraction 1912-1990, April 14 - June 30, 1995, no. 825 (listed, pp. 119, 128, discussed, p. 22, and illustrated in the exhibition catalogue, p. 75).LittératureY. Papaioannou, The Work of Painter Yannis Spyropoulos, doctoral dissertation, Athens 1994, no. 825, p. 294 (listed).The work of a secular mystic who searched through the fragments of the Greek past to discover new visions of reality, Phaos amply displays the art of a true master: wise compromise between gestural brushwork and compositional structure, functional exploitation of texture, imposing light and a deep sense of colour that is rich and yet subdued like a Byzantine icon. As noted by art critic C. Spencer, 'Spyropoulos's dark canvases are like veils moving slowly and sensuously in the wind, revealing here a brief shaft of light, there a sharp burst of sun, an unexpectedly brilliant colour, textures of ancient stones and crumbling walls.'1 As a result, the whole canvas is transformed into a nocturnal landscape where forms and lines, signs and markings2 break through the darkness like votive candles in a dimly lit Byzantine chapel. As the painter himself once said, 'I spread out the dark to find the light.'1 C. Spencer, preface to the 1971 Spyropoulos one man show at the David Jones' Art Gallery in Sydney, Australia.2 A recurrent sign in Spyropoulos's work, which features prominently in Phaos, is the circle, a universally accepted symbol of eternity and never-ending existence. In Christian art it represents eternal union, divine perfection and everlasting life. See Y. Papaioannou, Yannis Spyropoulos – Monograph [in Greek], doctoral dissertation, Yannis and Zoe Spyropoulos Foundation, Athens 2010, pp. 292-293; G. Ferguson, Signs and Symbols in Christian Art, Oxford University Press, New York 1961, p. 153, 178.Œuvre d'un mystique séculier qui cherchait dans les fragments de l'histoire grecque à découvrir de nouvelles visions de la réalité, Phaos témoigne avec éclat du talent d'un vrai maître : un compromis subtil entre la gestuelle de la touche et la structure de la composition, une exploitation fonctionnelle de la texture, une lumière imposante et un sens profond de la couleur qui est riche et cependant contenue, à la manière d'une icône byzantine.Comme l'a fait observer le critique d'art C. Spencer, « les toiles sombres de Spyropoulos sont comme des voiles bougeant lentement et de manière sensuelle dans le vent, révélant ici un bref puits de lumière, et là un vif éclat de soleil, une couleur d'une brillance inattendue, des textures de pierres antiques et des murs qui s'effondrent. » Tous ces éléments concourent à transformer toute la toile en un paysage nocturne où les formes et les lignes, les signes et les taches de peinture surgissent brusquement de l'obscurité, comme des bougies votives dans une chapelle byzantine faiblement éclairée. Comme le peintre l'a dit lui-même un jour, « J'ai peint l'obscurité pour trouver la lumière.»For further information on this lot please visit Bonhams.com
Los 502
A GEORGE III SILVER OVAL NUTMEG GRATER BY THOMAS PHIPPS & EDWARD ROBINSON LONDON 1787 The upper cover opening to a steel grate, the lower cover flush hinged, 5.5cm (2 1/4in) long, 44 grams (1.4 oz) grossCondition Report: Light nicks & scratches commensurate with age and use. Hinges tight, covers sit well, clear marks, rust to grater as usual, no faultsCondition Report Disclaimer
Los 504
A GEORGIAN SILVER MOUNTED COWRIE SHELL SNUFF BOXSTAMPED EC ONLYEngraved beneath Samuell Pickering within a C-scroll and floral border, 8.5cm (3 1/4in) longCondition Report: Light nicks & scratches commensurate with age and use. Hinge tight, cover sits well, readable mark, shell all sound, engraving on cover includes a rather comical chinaman's headCondition Report Disclaimer
Los 526
AN IRISH SILVER CIRCULAR FOUR PIECE TEA SET BY IRISH SILVER LTD. DUBLIN 1974The tea pot and hot water pot with cow finials to the floral chased domed covers, shaped borders and wood handles, the bodies chased with milk maidens and cows, on four lion mask and paw feet, the tea pot 27cm (10 1/2in) long, 2260 grams (72.7 oz) grossCondition Report: Tea pot - Marks well struck, slightly wobbles, decoration good, slight play to the hinge, handle tightHot water - Marks well struck, slightly wobbles, decoration good, slight play to the hinge, handle tightCream jug - Marks well struck, decoration good, stands wellSugar bowl - Marks well struck, decoration good, stands wellAll marks match, light scratches and wear commensurate with age and useCondition Report Disclaimer
Los 530
AN AUSTRIAN SILVER AND ENAMEL ALMOST SQUARE CIGARETTE CASE BY SILBERWARENFABRIK ALEXANDER STURMVIENNA 1872-1922, 2nd (.900) standard The upper cover painted with a chestnut horse's head and shoulders on a white guilloche ground, 9cm x 8.5cm (3 1/2in x 3 1/4in), 178 grams (5.75 oz) grossCondition Report: Light nicks & scratches commensurate with age and use. Hinge tight, snaps together well, clear marks, no cigarette retaining bands. GoodCondition Report Disclaimer
Los 532
A CONTINENTAL SILVER GILT AND ENAMEL MINAUDIERE POST 1912 SWEDISH IMPORT AND SILVER MARKS, OTHERS INDISTINCT, LATE 1930S Canted rectangular section, black and white enamelling, with a mirror, ivorine panel and three vacant compartments in sizes, with a black cord and tassel 8.3cm (3 1/4in) long Condition Report: There is a scratch to the enamel, some light scuffs, no major chips. The mirror is in good condition for its age, only one small spot of deterioration. Some tarnishing and light scuffs. Cord in useable order.Condition Report Disclaimer
Los 540
A LATE VICTORIAN GOLD PENCIL UNMARKED, CIRCA 1880 With a vacant white onyx cartouche shaped matrix, a scroll and flower chased capital, the cylindrical shaft scroll foliate engraved, with a push action tip, 9.7cm (3 3/4in) long closed, 19.7g grossCondition Report: The pencil has some light scratches to the barrel from use, and a solder line from manufacture, the mechanism is stiff, but in useable orderCondition Report Disclaimer
Los 554
A VICTORIAN GOLD NECKLACEthe serpent link chain with three ovoid bead spacers with applied ropetwist and beaded decoration, later ring bolt claspSIZE/DIMENSIONS: Necklace 61cm long, ovoid panels 2.2cm longGROSS WEIGHT: 37.4 gramsCondition Report: The ring bolt clasp is not original, some light wear commensurate with age and use. No major losses to the beads, some slight denting to the middle decorative sections of the beads.Condition Report Disclaimer
Los 556
A LATE 19TH CENTURY GOLD HALF PEARL CROSS PENDANT CIRCA 1890the cross with trefoil tips with pierced scrolled decoration, with a central Latin cross set with half pearlsSIZE/DIMENSIONS: 9.7cm longGROSS WEIGHT: 15.9 gramsCondition Report: The pendant is unmarked, the cross has some light wear commensurate with age and use, all pearls are present, one at the bottom of the cross has a chip to the base of the pearlCondition Report Disclaimer
Los 557
A LATE 19TH CENTURY ENAMELLED GOLD LOCKET CIRCA 1890the shield shaped gold locket with an enamelled portrait of a lady with flowers in her hair, rose cut diamond accents, black enamelled borders, the back engraved with scrolled decoration and the initial S, opening to reveal two glazed compartments, with scrolled pediment and triangular shaped bale SIZE/DIMENSIONS: 6cm longGROSS WEIGHT: 21.2 gramsCondition Report: Unmarked, a few very small scratches to the enamel, some light wear commensurate with age and useCondition Report Disclaimer
Los 562
A VICTORIAN TAY PEARL AND ENAMEL BROOCH CIRCA 1880the pierced circular gold panel with scrolled white enamel decoration, with a central half Tay pearl set cross, with a beaded borderSIZE/DIMENSIONS: 4.2cm diameterGROSS WEIGHT: 14.5 gramsCondition Report: Some light wear commensurate with age and use, one of the Tay pearls is slightly milky in appearance. Condition Report Disclaimer
Los 563
AN EDWARDIAN DIAMOND AND HALF PEARL HINGED BANGLE CIRCA 1910the gold bangle with a central half pearl and old mine cut diamond cluster, estimated to weigh 0.35 carats, to pierced foliate shoulders, the clasp stamped 15ct, in an associated bangle boxSIZE/DIMENSIONS: Inner width 5.4cm GROSS WEIGHT: 12.8 gramsCondition Report: The bangle has some light wear, the central diamond colour estimated I-J, clarity SI2, fracture to one side of the stone, a mineral inclusion and feather to the surface, some light wear to the surfaces, the clasp and hinge in good working order. The box shows some signs of age and use.Condition Report Disclaimer
Los 565
A PAIR OF PERIDOT AND DIAMOND EAR PENDANTS the old brilliant cut diamonds in claw settings, approximately 0.50 carats total, suspending pear cut peridots, estimated to weigh 11.74 carats and 8.71 carats, in claw settings, in a J.W Benson. Ltd boxSIZE/DIMENSIONS: 2.6cm longGROSS WEIGHT: 8.5 gramsCondition Report: Peridots measure approximately:18.9mm x 12.5mm x 8.1mm (11.47 carats)18.3 x 12.6 x 6.3mm (8.71 carats)The majority of the earrings are from the first half of the 20th century, but the stud fittings are later, there are marks at the top of the studs where a hook fitting or another stone may have been removed. Some light wear commensurate with age and use.Condition Report Disclaimer
Los 566
A LATE VICTORIAN DIAMOND CARTOUCHE BROOCHCIRCA 1890the pierced oval panel set with old cut diamonds, approximately 8.25 carats, in a gold backed silver settings, with a diamond accented baleSIZE/DIMENSIONS: 5.7cm longGROSS WEIGHT: 20.5 gramsCondition Report: The diamonds are bright and lively, colour I-L, clarity mostly VS-SI, some light wear commensurate with age and use. There are some gaps to the setting around the central diamond from constructionCondition Report Disclaimer
Los 567
AN ART DECO DIAMOND AND ONYX DRESS SET CIRCA 1930the cufflinks with octagonal polished onyx panels each centred with an eight cut diamond, to a textured border, stamped 18ct, together with four matching onyx and diamond buttons, and a pair of dress studs, approximately 0.26 carats total, in an associated caseSIZE/DIMENSIONS: cufflink and button panels 1.3cm wide GROSS WEIGHT: 13.9 gramsCondition Report: The set has some light wear, no major chips, cracks or damage to the onyx panels, the diamonds are all present and correct. The button backs are base metal, the gross weight doesn't include the button backs. The box has damage to the top where tape has been put on the box and someone has tried to remove it, some signs pf use to the box, the cufflink securers are not in placeCondition Report Disclaimer
Los 576
A 1950S FRENCH DIAMOND DOUBLE CLIP BROOCHthe stylised bow shaped clips set with brilliant cut, eight cut and baguette cut diamonds, approximately 4.16 carats total, the pins with French Poinçons and stamped Deposse, with removable brooch fittingSIZE/DIMENSION: 6cm x 4.7cmGROSS WEIGHT: 34.6 gramsCondition Report: The brooch with French eagles head indicating 18 carat gold, the brooch has some light wear commensurate with age and use, the diamonds are bright and lively clarity varying, colour H-KCondition Report Disclaimer
Los 577
VAN CLEEF & ARPELS, A PAIR OF GOLD AND HARDSTONE CUFFLINKSthe 18 carat gold connectors stamped VCA OR 750 and numbered B91071712, with partial 1998 import mark, with interchangeable steel and hardstone batons, the steel batons stamped Acier, in a fitted Van Cleef & Arpels boxSIZE/DIMENSIONS: batons 2.2cm longGROSS WEIGHT: 29.2 grams Condition Report: The cufflinks have some light wear commensurate with age and use, the case has signs of use and storage, some discolouration, pen marks to the outer lid Condition Report Disclaimer
Los 578
OMEGA, A LADY'S TWO COLOUR 18 CARAT GOLD AND DIAMOND BRACELET WATCH, CIRCA 1984Movement: Cal. 1070, manual windCase: 18 carat gold case, diamond set bezel, snap case back, import mark for London 1984Dial: SilveredBracelet: Integral 18 carat gold woven bracelet with snap claspSize: 30mm, bracelet 18cmSigned: Case, dial, movementAccessories: NoneCondition Report: Movement is currently functioning. Movement appears to be in a generally good condition with little sign of previous intervention when viewed under a 4x loupe. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Hands appear to be in a generally good condition.Glass appears free of significant scratches or marks when viewed under a 4x loupe. Case appears to be in good condition with minor scratches and marks. Crown has light scratches and marking. Bracelet has light scratches and some signs of light twisting.Clasp is currently functioning and appears to be in good condition. Bracelet measures approximately 18cm including case.58g grossThis lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
Los 579
A 1970S 18 CARAT GOLD ANCHOR LINK BRACELET the textured anchor links with polished links between, with Sheffield 1974 import marksSIZE/DIMENSIONS: 20.5cm longGROSS WEIGHT: 46.6 gramsCondition Report: The clasp in good working order, some light wear commensurate with use, slight rubbing between the linksCondition Report Disclaimer
Los 580
A 1960S DIAMOND SIGNET RINGthe rectangular panel with two star set old mine cut diamonds, to stepped arrow shaped shoulders, Birmingham 1960 hallmark, H.G&M maker's markSIZE/DIMENSIONS: Finger size VGROSS WEIGHT: 8.6 gramsCondition Report: There are some light scratches and scuffs from use, the diamonds are bright and lively, SI and I clarity, colour estimated I-J, assessed in settingsCondition Report Disclaimer
Los 586
BOUCHERON, A DIAMOND SET COMPACT CIRCA 1950the squared compact with scrolled foliate decoration and old cut diamond accents, with a hinged diamond set thumb piece, approximately 1.35 carats total, opening to reveal a mirror and a gold coloured engine turned lidded powder compartment with sprung thumb piece, signed Boucheron Paris and numbered 80.739, stamped with French post 1893 import poinçonSIZE/DIMENSIONS: 7cm x 6.4cm x 1cmGROSS WEIGHT: 188 gramsCondition Report: Part of the hinge has been broken, it swivels round when the lid is opened and closed, there are some knocks to the corners, one has a very small hole, a few of the diamonds have been pushed into the settings, but all diamonds are still present. The mirror has a some light scratching where the internal sprung thumb piece has rubbed the mirror upon closing. The case has the French import owl mark. The inside of the inner lid patch where it appears the box has been acid tested.Condition Report Disclaimer
Los 591
A 1960S 14 CARAT GOLD RUBY AND DIAMOND SET POODLE PENDANTthe poodle playing with a bone, with eight cut diamond set bow and circular cut ruby eyes, London 1967 hallmarkSIZE/DIMENSIONS: 2.2cm x 3cmGROSS WEIGHT: 14.5 gramsCondition Report: Hallmarked to the tail, some light wear, the top suspensory loop needs soldering. The stones all present and correct. Condition Report Disclaimer
Los 597
A 1960S 18 CARAT GOLD FLOWER HEAD AND SNAKE BROOCHthe flower head with a central bombé cluster of circular cut rubies, with a snake coiled around one side of the flower, with Birmingham 1965 import mark and RHB sponsors markSIZE/DIMENSIONS: 5.7cm x 4.4cm GROSS WEIGHT: 14.3 grams Condition Report: The brooch has some light wear commensurate with age and use, the rubies are brightCondition Report Disclaimer
Los 600
A 1970S SAPPHIRE CIRCLET BROOCHthe interwoven looped scaled textured panels with circular cut sapphire accents, stamped 18K with AX markSIZE/DIMENSIONS: 3.4cm wideGROSS WEIGHT: 17.4 gramsCondition Report: Some light wear commensurate with use, sapphires are bright, clasp in good working orderCondition Report Disclaimer
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534338 Los(e)/Seite