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Preisdatenbank abonnierenLarge gilt and glass stemmed table light, H: 60 cm. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133Condition Report: All electrical items in this lot have been PAT tested for safety and have passed. This does not confirm that the item is in full working order.
Jianyi, Geng(Zhengzhou 1962)"Two spots of light". 1999. Lot drei Zeichnungen. Buntstift auf Papier. Unten auf Chinesisch betitelt, signiert und datiert. Blattgrössen je 31,1x25 cm. In einem Rahmen gerahmt. -Blätter minimst gebräunt. Ränder und Ecken leicht bestossen. Rotes Blatt mit Papierverlust oben links. Alle verso am oberen Rand mit Klebspurresten.
THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADY*** Please note second brooch no longer part of this lot. See lot 100A ***A SAPPHIRE AND DIAMOND BROOCH/DRESS CLIP, BY BULGARI, CIRCA 1940Of flowerhead design with polished gold leaves, the petals highlighted with cushion-shaped sapphires weighing approximately 16.00cts total and brilliant-cut diamonds, with similarly-cut diamond pistils, within claw-setting throughout, mounted in 18K gold, diamonds approximately 2.50cts total, unsigned(with loose original back fitting in 18K gold, French assay marks, numbered 50512)By family repute, the brooch was purchased at Bulgari in RomeAccompanied by a certificate of authenticity from Amanda Triossi, author & specialist on Bulgari, former curator of the Bulgari Heritage Collection and curator of all the first major Bulgari retrospective exhibitions from 2009 to 2013, stating that this brooch was manufactured for and retailed by Bulgari and dates from the 1940s. Certificate dated 9th August 2021, in Rome.Condition Report: Sapphires: gauged mounted: approx. 16.00cts total - of cornflower blue hue, good transparency, medium tone with very good saturation, minor/light facet abrasions visible under 10x magnification - well matched in colour.Diamonds: approx. 2.50cts total, unable to estimate colour due to yellow mount, estimated clarity VS/VVSNormal signs of wear, overall in good condition
THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADYA RARE RETRO SAPPHIRE AND DIAMOND 'TUBOGAS' BRACELET, BY BULGARI, CIRCA 1940The large coiled gold tubogas bracelet, with two spherical terminals highlighted with sapphire cabochons and brilliant-cut diamonds within collet-setting, mounted in 18K gold, indistinct maker's mark, size extendableAccompanied by a certificate of authenticity from Amanda Triossi, author & specialist on Bulgari, former curator of the Bulgari Heritage Collection and curator of all the first major Bulgari retrospective exhibitions from 2009 to 2013, stating that this bracelet was manufactured for and retailed by Bulgari and dates from the 1940s. Certificate dated 9th August 2021, in Rome.A similar tubogas brilliant-cut diamond bracelet by Bulgari illustrated page 98, 'Twentieth-Century Jewelry, Art Nouveau to Modern Design', by Lodovica Rizzoli EleuteriThe iconic flexible gold braid of the Tubogas shape debuted in the 1940s, and has since become a signature of the brand, seen in everything from Bulgari’s bracelets and watches to their rings. In creating the Tubogas, Bulgari took advantage of the great malleability of yellow gold to produce a work of art, revolutionising the concept of movement in jewellery. The Tubogas shape is formed by wrapping long bands of gold around a wood or copper core over several hours of highly skilled craftsmanship. The technique was developed in Italy in the late 1930s and ingeniously mimics industrial gas piping. The origin of its name derives from a clever take on the Italian tubo gas, literally translating as ‘gas tube’. As the bands are coiled, their rounded contours interlock to conceal their inner structure, creating a smooth and fluid finish. The result of such intricate craftsmanship is supple, springy and comfortable, with the sleek and sensual appearance of a serpent’s twist which allows the metal to expand or contract with the shape of the wearers wrist or finger. From the time of its first launch, the creation of the Tubgogas bracelet marked the Roman jewellery house as an innovator. Since then, the continued success of the Tubogas is testament to its flawless design and desirability.This particular piece is a variation of the original Serpenti Tubogas bracelet which emerged in the 1950s, during which time Bulgari began to experiment with more abstract Tubogas pieces. The yellow gold bands are characteristically juxtaposed with unusual colour combinations of contrasting precious gemstones, such as diamonds, sapphires, emeralds or coral.The Serpenti Tubogas and other forms of the Tubogas silhouette continue to be hugely popular today. Despite their many incarnations since the 1940s original bracelets and timepieces, the core craftsmanship of creating such a piece remains exactly the same. Made in the largest jewellery manufacturing facility in Europe at Bulgari’s Valenza workshop, Bulgari have since experimented with different materials to create unique chromatic effects, including yellow gold and white gold or yellow gold and steel alternating on the wrist. Irrespective of what development the Tubogas will move towards next, it remains a beacon of jewellery innovation, a feat of craftsmanship and an integral element of Bulgari’s design identity.Condition Report: Sapphires: of blue hue, medium tone, some show abrasions due to wear visible under a bright light source, some wear visible on some collet settings due to normal wearDiamonds: bright and well matched, some wear visible on some collet settings due to normal wearStamped 750 for 18K goldItalian maker's mark: rubbed due to wear, unable to distinguishTotal gross weight approx. 139.40g
A CULTURED PEARL NECKLACEComposed of a graduated row of South Sea cultured pearls of gold tint measuring from approximately 11.52 to 13.80mm, with 14K gold clasp, length 44.5cmCondition Report: Pearls: Of gold tint, approx. 11.52 to 13.80mm, good lustre with pink and green overtones, some minor natural blemishes visible on some pearls under a bright light source, overall well matched in colourStamped 585 for 14K located on claspMinor signs of wear, overall in good conditionTotal gross weight approx. 8.84g
A FINE LATE 19TH CENTURY DIAMOND PENDANT, CIRCA 1890Composed of a central old cushion-shaped diamond weighing approximately 2.00cts, with similarly-cut diamond frame and bale, mounted in silver and gold, remaining diamonds approximately 8.00cts total, length (including bale): 3.7cmCondition Report: All gauged mountedPrincipal diamond: approx. 2.00cts, estimated colour I/J, estimated clarity SI (due to a minor crystal located on the table, a couple of minor pits on the girdle)Remaining diamonds: approx. 7.50-8.00cts total, similar colour + a couple of K, estimated clarity VS-SI (one of the smaller diamond has a minor chip visible under a bright light source)Normal signs of wear, overall in good conditionTotal gross weight approx. 7.7g
TWO GEM-SET RINGS, BY FRED PARISEach frontispiece set with a row of rectangular-cut peridots or citrines, mounted in 18K gold, signed Fred, with maker's marks 'SF', French assay marks, ring sizes (both) N½Condition Report: Some minor abrasions visible under 10x magnification - one minor chip on a citrine visible with attention and a bright light sourceNormal signs of wear, overall in good conditionTotal gross weight approx. 13g
A CULTURED PEARL NECKLACE WITH DIAMOND CLASPComposed of a graduated row of South Sea cultured pearl of white tint, measuring from 10.75 to 14.79mm, to a spherical 14K white gold clasp highlighted with brilliant-cut diamonds, with four additional loose pearls measuring 10.50mm, length 40cmCondition Report: Pearls: good lustre, with minor green and pink overtones, some minor blemishes visible under a bright light sourceClasp stamped 585 for 14K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 87g (excluding the 4 additional pearls)
A PAIR OF DIAMOND EARSTUDSEach brilliant-cut diamond weighing approximately 0.50ct within a four-claw setting, mounted in 18K goldCondition Report: Estimated colour I/J & estimated clarity one VS, one SI due to a colourless inclusion visible under 10x magnification and under a bright light source with naked eyeStamped 750 for 18K goldMinor signs of wear, overall in good conditionTotal gross weight approx. 1.76g
A PAIR OF AMETHYST AND DIAMOND PENDENT EARRINGS, BY MARGHERITA BURGENEREach modelled as a petal, pavé-set throughout with circular-cut amethysts with brilliant-cut diamond accents, beneath removable petal-shaped surmounts similarly-set with brilliant-cut diamonds, mounted in titanium and 18K gold, amethysts weighing 3.62cts total, diamonds weighing 1.38cts total, signed Margherita Burgener, with maker's mark, Italian assay marks, with maker's case, length 3.2cm and 1.3cm Condition Report: Amethysts: light to medium tone, good transparency, overall bright and livelyDiamonds: too small to assess colour, estimated clarity VSSuperficial signs of wear, overall in good conditionTotal gross weight approx. 6.3g
A PAIR OF RUBY AND DIAMOND EARRINGSEach flowerhead set with brilliant-cut diamond petals and circular-cut rubies for pistils, mounted in gold, diamonds approximately 4.00cts total, length 2.5cmCondition Report: Diamonds: approx. 4.00cts total, estimated colour G/H, estimated clarity VS (one diamond found to be chipped with 10x magnification)Rubies: of purplish-red hue, medium to dark tone, minor abrasions and pits visible under bright light sourceWhite metal unmarked: tested by the jewellery department to be 18K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 15.5g(for pierced ears)
AN EMERALD AND DIAMOND DRESS RINGThe central square-cut emerald weighing approximately 1.75cts within a four-claw setting, between baguette-cut diamond shoulders, mounted in 18K gold, diamonds approximately 0.25ct total, ring size N½Condition Report: Emerald: of bluish-green hue, light to medium tone, good transparency, natural inclusions visible with the naked eye in the form of crystals, some abrasions visible under 10x magnificationDiamonds: estimated colour H/I, estimated clarity SINormal signs of wear, overall in good condition
A PAIR OF EMERALD AND DIAMOND EARRINGSEach brilliant-cut diamond weighing approximately 0.70ct set with pear-shaped emerald accents and further brilliant-cut diamond highlights, mounted in 18K gold, Italian assay mark, remaining diamonds approximately 0.70ct total, length 1.9cmCondition Report: Principal diamonds: approx. 0.70ct total, estimated colour I/J, estimated clarity VSRemaining diamonds: approx. 0.70ct total, estimated colour H/I, estimated clarity VS with some SIEmeralds: of bluish-green hue, medium tone, natural inclusions visible under a bright light sourceMinor signs of wear, overall in good conditionTotal gross weight approx. 8.8g
A PAIR OF AMETHYST AND DIAMOND PENDENT EARRINGSEach mixed-cut pear-shaped green amethyst, within pavé-set of brilliant-cut diamond surround, suspending from a similarly-cut diamond surmount, mounted in 18K gold, amethysts approximately 18cts total, diamonds approximately 0.89ct total, length 4.4cmCondition Report: Of bluish-green hue, light to medium tone, facets are smoothDiamonds: too small to assess colour or clarity - overall bright and well matchedNormal signs of wear, overall in good conditionTotal gross weight approx. 11gAccompanied with an insurance valuation from John Brereton from 2018: €2150
A GEM-SET, DIAMOND AND ENAMEL BANGLEThe frontispiece with applied blue enamel, set with a central oval-shaped blue sapphire weighing approximately 5.20cts, between two cushion-shaped yellow sapphires, rubies and two pear-shaped emeralds and old brilliant-cut diamond accents, with beading detailing, to a hinged clasp, mounted in gold, with security chain, inner diameter 5.7cmCondition Report: Central sapphire: of cornflower blue hue, light to medium tone, minor natural inclusions visible under a bright light source, good transparency, facets are smoothRemaining sapphires: approx. 2.50cts each, two cushion-shaped - of yellow hue, light tone, good transparency, minor natural inclusions visible under a bright light source, facets are smoothRed stones: rubiesEmeralds: of green hue, inclusions visible with naked eyeEnamel: royal blue hue, normal wear, overall in good conditionGold: tested by the jewellery department to be 14K goldTotal gross weight approx. 29.60g
A RETRO SAPPHIRE AND GOLD BRACELET, BY CAZZANIGA, ROMA, CIRCA 1940The large bombé gold links with reeded detailing throughout, accented in the centre by circular-cut sapphires within star motifs, mounted in 18K gold, Italian assay mark for 'Giorgio Angelo Cazzaniga in Rome between 1934-1944', with original maker's case, length 20.3cmThe firm of Cazzaniga was founded by Angelo Giorgio Cazzaniga (d. 1976) in 1920. Born in Rome, he grew up in the villa belonging to a cousin of Tsar Nicholas II as his father was manager of the prince’s estate. His childhood and adolescence were therefore spent surrounded by the vast collection of artworks belonging to the young Russian patron, Prince Abamelek Lazarev. This upbringing proceeded to have a profound impact on both his initial choice of career as an apprentice goldsmith in Milan as well as the creation of his jewellery pieces later in life. He opened his first jewellery store near the Trevi fountain, in the heart of Rome in 1929. Cazzaniga’s pieces encapsulated the art of classical and Baroque Rome and were inspired by the sculpture of Bernini and Francesco Borromini, amongst others. The influence of his childhood was never far away. The elaborate ornamental and almost architectural style of Cazzaniga’s jewellery throughout his career reveals a unifying motif which shows a continuous underlying reference to the artistic foundations of his youth.Giorgio’s two sons Paolo and Roberto followed him into the jewellery business, with both opening their respective stores under the same name. Paolo started his own company in Rome in 1973 and Roberto opened a store in 1979 on New York’s Madison Avenue, but this subsequently closed in 1981.Paolo continued to run the firm he started in Rome under the Cazzaniga name. He continued the legacy left by his father creating jewellery in a neo-Baroque style. Paolo worked most often in gold with precious gemstones. His primary inspiration derived from studying the artwork of the Byzantine era, the Florentine Renaissance and just like his father, Baroque Rome. During the 1970’s, the house of Cazzaniga experienced a revival and heightened success on the international scene under the directorship of Paolo. Paolo inherited an innate passion for jewellery that was inherited from his father, and he has made it his mission to dedicate his time to solidifying what has become known as a distinct Cazzaniga style.Today the Gioielleria Cazzaniga is led by Paolo and his son Giorgio, the latter of whom represents the third generation in a line of talented jewellers and goldsmiths. Together, the duo caters for a clientele that is largely international and collaborate with the best representatives of Italian goldsmiths to continue the Cazzaniga legacy.Below is an original sketch by Cazzaniga’s founder Angelo Giorgio Cazzaniga from the jeweller’s archives. The two sketches shown date to the early 1950s. The drawing on the right displays the workings of a model design almost identical to the bracelet in this sale, and exhibit the fine draughtsmanship of the jeweller, even in the initial stages of his designs. Written below the drawing on the right are the original dimensions and price point decided by Cazzaniga. Translated from the Italian, the text says, ‘7 pieces at 20cm’, with the price set at £4000 Italian Lire, the equivalent to around €30,000 today.Condition Report: Some minor dents visible under a bright light sourceSapphires: of blue hue, medium tone, bright and well matched in colour with good transparency, some abrasions on a couple visible under a bright light sourceThe reverse shows some possible minor signs of repair - ask the jewellery department for additional imagesMaker's mark for Cazzaniga Roma with fasces for period 1934-1944, RomaNormal signs of wear, overall in good condition,Total gross weight approx. 123.66g
AN IMPORTANT EMERALD AND DIAMOND BRACELET, CIRCA 1945Of geometric openwork design, centring graduated cabochon emeralds, within a surround of European and baguette-cut diamonds, mounted in platinum, diamonds approximately 30.00cts total, emeralds approximately 45.00cts total, length 18.3cm Condition Report: Diamonds: approximately 30.00cts total, estimated colour H/I/J, estimated clarity VS with a few minor SIEmeralds: approximately 45.00cts total, of bluish-green hue, medium tone, natural inclusions visible under a bright light source (pls note the weight is keeping in mind that it was difficult to reach all ends of stones to gauge very precisely)Metal tested by the jewellery department: platinumNormal signs of wear, overall in good conditionTotal gross weight approx. 85.80g
A CULTURED PEARL NECKLACE WITH DIAMOND CLASP, CIRCA 1960Composed of five rows of graduated Akoya cultured pearls of cream tint measuring approximately 5.07-8.73mm, finishing with a clasp set with brilliant, single and baguette-cut diamonds, mounted in 18K gold and platinum, diamonds approximately 3.50cts total, shortest length 43.5cm, longest length 50.5cmCondition Report: Pearls: of cream tint, high lustre, with pink, silver and green overtones, very minor natural blemishes visible under a bright light source, graduated between approximately 5.07 and 8.73mmDiamonds: approx. 3.50cts total, estimated colour H/I, estimated clarity VS with some SIEagle's head for French 18K gold and dog's head for French platinumMinor signs of wear, overall in good conditionTotal gross weight approx. 118.70g
A PAIR OF EMERALD AND DIAMOND PENDENT EARRINGSEach surmount set with a trio of square-cut emerald within a surround of brilliant-cut diamonds, suspending similarly-cut emeralds and diamonds, mounted in 18K gold, diamonds approximately 3.00cts total, length 5.3cmCondition Report: Emeralds: of yellowish-green hue, translucent, light to medium tone, inclusions visible with naked eyeDiamonds: approx. 3.00cts total, estimated colour H/I/J (one K/L), estimated clarity SINormal signs of wear, overall in good conditionTotal gross weight approx. 14.8g
A ROCK CRYSTAL, ONYX, DIAMOND AND CULTURED PEARL PENDANT/BROOCH, BY DAVID WEBBThe rock crystal pendant accented with brilliant-cut diamonds and onyx, suspending a tassel of cultured pearls of white tint, measuring approximately 9.50mm, mounted in 14 & 18K gold and platinum, diamonds approximately 3.30cts total, signed Webb, length 13.2cmDavid Webb began designing jewellery as a young boy growing up in North Carolina. In 1940, he moved to New York at the age of seventeen and apprenticed at his uncle’s silversmith shop, where he learned metal smiting techniques, further honing his keen eye for jewellery design. Five years later, Webb founded his eponymous jewellery line on Manhattan’s Madison Avenue. His brand would go on to help define the direction of American jewellery over the next two decades. Webb’s designs standing out as one of the few artists of the 20th century who lay claim to an aesthetic style which remains wholly their own. Devoted clients of Webb included Jacqueline Kennedy, Elizabeth Taylor and Estée Lauder, all of whom proudly wore his designs throughout the 1950s and 60s. Throughout his lifetime, his pieces took centre stage on the covers of fashion magazines such as Vogue, Harper’s Bazaar, and Town & Country.Webb’s designs are distinguished by a vivid colour palette, dimension, and meticulous attention to detail. He oversaw the whole process of jewellery making, from the initial conceptualisation of the pieces to the finished product, with his entire production process sometimes being comprised of as many as 18 steps before his designs came to fruition. Webb worked in enamel, coral, jade, carved crystal, and gold alongside a vibrant mixture of gemstones and pearls. He drew inspiration from a vast range of cultures and periods, founded in his regular visits to all the museums and collections New York city had to offer. This included the Metropolitan Museum of Art where Webb made a point of going weekly to study and admire the ancient collections housed there, from the painted terracotta vases of the Bronze Age Minoans to the papyri of the Ancient Egyptians and the gold jewellery of the Byzantine Empire. For Webb, a Minoan bull became a gold belt buckle, and Greek penannular bracelets were transformed into the models for his signature gold animal bracelets.It was this breadth of influence, boldness of design and unabashed individuality which drew the attention of First Lady Jackie Kennedy, when she asked Webb to create the White House Gifts of State in 1960. Directed to use minerals native to the United States, all seven designs were accepted, sparking a lifetime of collaboration between the pair. When Webb passed away in 1975, at the young age of 50, his legacy was remembered by those who admired his work. The Duchess of Windsor remembered him as “Faberge reborn”, whilst his friend and associate Jackie Kennedy called him a “modern day Cellini”. In 2010, Marc Emmanuel and Robert Sadian bought over the company, bringing David Webb designs into the 21st century by faithfully restoring the jeweller’s original designs from his archives. Today, all of David Webb’s jewellery continues to be made on the premises in New York, as it has been since 1948.Condition Report: Pearls: of white tint with high lustre and with green and pink overtones, some blemishes visible under a bright light sourceOnyx & rock crystal in good conditionDiamonds bright and well matched - approx. 3.30cts total, estimated colour of bigger stones G/H, estimated clarity VSNormal signs of wear, overall in good conditionTotal gross weight approx. 96.6g
A PAIR OF FANCY-COLOURED DIAMOND AND DIAMOND PENDENT EARRINGSEach set with a cut-cornered rectangular-shaped yellow diamond weighing 3.01 and 3.38cts, framed with brilliant-cut diamonds, to a similarly-cut diamond surmount, mounted in platinum and 18K gold, length 3.1cmAccompanied by a report from the GIA laboratory in America, stating that the diamond weighing 3.01cts, is natural, Fancy Light Yellow, VVS1 clarity (with laser inscriptions). Report number 1186256635, dated February 21, 2018.Accompanied by a report from the GIA laboratory in America, stating that the diamond weighing 3.38cts, is natural, Fancy Light Yellow, VS2 clarity (with laser inscriptions). Report number 2215641667, dated April 30th 2021.Diamonds that come in colours beyond the normal colour range of D to Z are known as Fancy-Coloured Diamonds. They can come in a myriad of colours from deep yellows and browns to as pinks, oranges, blues and greens.Tiffany’s famous yellow diamond - a cushion-shaped Canary Yellow diamond - has firmly planted the desire for this wonderful yellow hue to grace our fingers or neckline. Yellow diamond engagement rings sported by Hollywood stars, such as Olivia Palermo, Jennifer Lopez, Heidi Klum and Jessica Alba prove that our adoration of yellow diamonds is steadfast.However, this love affair with yellow diamonds is nothing new and there is a long history of extraordinary yellow diamonds that have gained fame, both as exquisite examples of the beautiful nature of diamonds and because of the famous people who either wore, bought or sold them. Some examples of notable yellow diamonds are The Allnatt (cushion-cut diamond, Fancy Vivid Yellow 102.29ct), The Florentine (irregular nine-sided shape, Light Yellow, 139ct), The Incomparable (shield- shaped step-cut, Fancy Brownish Yellow, 407.48ct) The Mouna (cushion-cut diamond, Intense Yellow, 112.53ct), The Porges (Asscher-cut, Yellow, 78.53ct) and The Red Cross (cushion-cut, Canary Yellow, 205.07ct).Fancy coloured diamonds are far more rare than diamonds in the normal colour range. A diamond, particularly a yellow one that shows colour that's deeper or more intense or vivid than a Z colour stone, moves it from the ranks of normal coloured diamonds and into the realm of fancy-coloured diamonds. This rarity has a profound impact on diamond value.Understanding and describing colour when it comes to precious gemstones can be challenging. The 3 elements used to describe colour are hue, tone and saturation. The hue of a stone is the basic impression of a colour. But in order to get a complete picture of colour, you have to also consider tone and saturation. Tone is the amount of lightness or darkness in a colour and saturation is the strength, purity or intensity of the hue.The GIA uses an official grading system to describe the combined effect of tone and saturation on the diamonds hue. The scale is divided into 9 categories as follows:Faint Very Light Light Fancy Light Fancy Fancy Intense Fancy Dark Fancy VividA diamond’s cut can have an influence on its apparent colour and the bigger the diamond, the more obvious the colour.Condition Report: Remaining diamonds: approx. 0.80ct total, estimated colour G/H, estimated clarity VSMinor signs of wear, overall in good condition.Total gross weight approx. 11.7g
THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADYA CULTURED PEARL AND DIAMOND DRESS RINGThe central South Sea cultured pearl of white tint measuring approximately 15.75-14.84mm, between pear-shaped diamond shoulders and pavé-set brilliant-cut diamond belt, diamonds approximately 0.80ct, ring size I½Condition Report: Cultured pearl: of white tint, high lustre with green, pink and silver overtones, some minor blemishes visible under a bright light sourceTwo pear-shaped diamonds: approx. 0.40ct each, estimated colour H/I, estimated clarity VS (one minor SI1 due to a pinpoint)White metal unmarked and untestedNormal signs of wear, overall in good conditionTotal gross weight approx. 8.72g
THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADYA GEM-SET AND DIAMOND 'GIARDINETTO' BROOCH, CIRCA 1960Of giardinetto tutti frutti design, set with carved emeralds, sapphires and rubies with brilliant-cut diamond highlights, the basket embellished with similarly-cut diamonds, mounted in 18K gold and platinum, diamonds approximately 2.50cts total, width 6.2cm, length 4.2cmCondition Report: Emeralds: Of bluish-green hue, light to medium tone, a minor chips on one emerald visible under a bright light sourceSapphires: of blue hue, medium tone, overall bright and well matched in colourRubies: of purplish-red hue, medium to dark tone, some minor pits and abrasions visible under 10x magnificationDiamonds: approx. 2.50cts total, unable to assess colour due to yellow mount, estimated clarity VSWhite metal tested by the jewellery department to be platinum, yellow metal tested to be 18K gold, the reverse 14K goldTotal gross weight approx. 28.7g
THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADYA GEM-SET COCKTAIL RING WITH A PAIR OF EARCLIPS EN SUITE, BY PETOCHI, CIRCA 1960Of openwork dome design set with rectangular and square-cut sapphires, emeralds and rubies, highlighted with brilliant-cut diamonds, with a pair of earclips en suite, mounted in gold, diamonds approximately 3.00cts total, earrings signed Petochi Roma, ring size F¾, earrings length 2.5cmCondition Report: RING: Sapphires: some minor abrasions visible on the central sapphires, sapphire medium to dark tone, the others are between same colour and a couple lighter blue, good transparency, Rubies: of purplish-red hue, medium to dark tone, good transparency, one lighter than the others, Emeralds: of bluish-green hue, medium tone, one slightly lighter in colour, overall lively and well matched, Diamonds: approx. 3.00cts total, one diamond chipped, estimated colour H/I, estimated clarity VS with a couple of SIEarrings: of similar sapphire, rubies and emerald hue, minor abrasions on some stones visible under a bright light source, diamonds of similar qualityNormal signs of wear, overall in good conditionTotal gross weight approx. 35.5g
SHACKLETON (ERNEST HENRY)[The Heart of the Antarctic] The Antarctic Book. Winter Quarters 1907-1909, ONE OF 300 COPIES, signed by 14 (of 16) members of the shore party on a sheet headed 'The British Antarctic Expedition 1907 - 1909', 4 tipped-in colour portraits (Shackleton, Frank Wild, Eric Marshall, and Jameson Boyd Adams), 6 etched plates by George Marston, one linocut, lacks second sheet of signatures (Mawson and Edgeworth Davis), other sheet of signatures loose, light spotting to margins of the etchings, publisher's vellum-backed boards, rubbed [cf. Taurus Collection 57; Spence 1096], 4to, William Heinemann, 1909Footnotes:ONE OF 300 COPIES SIGNED BY THE MEMBERS OF THE SHORE PARTY OF THE BRITISH ANTARCTIC EXPEDITION IN THE NIMROD, including E.H. Shackleton, Frank Wild, Ray Priestley, Ernest Joyce, George Marston, and James Murray. This copy lacks the sheet with the signatures of Edgeworth Davis and Douglas Mawson.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
SONNERAT (PIERRE)Collection de Planches pour servir au Voyage aux Indes Orientales et a la Chine, plate vol. only, letterpress title, list of contents, 140 engraved plates (some double-page, a few loose, light dampstain in upper blank margin of nos. 66-72), contemporary paper boards, worn, some loss to one corner [Lust 353], 4to, Paris, Dentu, 1806This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
ARABIA - WORLD WAR II MILITARY MAPLong Range Air Navigation Chart. Arabia, Bahrein, Rhodes, and Cyprus Islands, printed map, captioned 'Restricted', centred on Basra, with information on 'annual magnetic change increase', Range stations 'that can be used by aircraft', 'standard broadcasting stations', marine lights, etc. printed in purple, large maps of Cyprus (with six sectional views), Bahrain and Rhodes on the verso, light dampstain in upper blank margin, sheet 970 x 1310mm., Compiled for the U.S. Army Air Forces, by the Army Air Forces... Aeronautical Data, April 1942Footnotes:A scarce chart issued for use by the U.S. Army Air Force during the Second World War. Marked 'Restricted' for the use of U.S. officers, the chart was produced 'for use in day light' and with the warning that due to wartime conditions 'lights, radio facilities, and other aides to navigation may be changed or discontinued without notice'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
GUJERAT - RAJKOTBOOTH (Miss) The Memorial Institute, 1893. Arranged and Photographs taken by Miss Booth, FIRST EDITION, introduction by F.C.O. Beaman, title within decorative border, 50 albumen prints (13 depicting the building and gardens; 37 portraits of all the Kathiawar chiefs and princes, and Colonial administrators, mostly painted by Frank Brooks), one lithographed plan, the photographs mounted on per page (recto only) on thick card, light spotting to a few mounts, a few with one corner chipped, tissue guards (a few missing), publisher's morocco by Marion & Co., very worn, upper cover detached, folio (435 x 355mm.), [no place or publisher, 1893]Footnotes:Lavish record of the Memorial Insitute at Rajkot, Gujerat, published to commemorate its opening in 1893. Designed and built by Robert Bell Booth, the Chief Engineer of a British agency, it included a Museum, Durbar Hall, Library and gardens. Presumably the Miss Booth who took the fine photographs in this work, a rare example of a nineteenth century female photographer in India, was Robert's daughter. The portraits of the chiefs and princes of Kathiawatha are mostly by Frank Brooks (1854-1937). This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Ken Howard R.A. (British, born 1932)Ramnagar, Varanasi, Afternoon Light signed 'Ken Howard.' (lower right), further signed, titled and dated 'RAM NAGAR VARANASI/AFTERNOON LIGHT FEB 2015/KEN HOWARD OBE RA' (on stretcher bar)oil on canvas20 x 61cm (7 7/8 x 24in).unframedThis 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
After Henry Salt (British, 1780-1827)'Calcutta' hand-coloured aquatint engraved by D. Havell after Salt, light toning and tears at margins just touching right platemark, William Miller, 180948 x 65cm (18 7/8 x 25 9/16in). (platemark)For further information on this lot please visit Bonhams.com
Peter Rindisbacher (Swiss born, Canadian/American, 1806-1834)A Gentleman Travelling in a Dog Cariole in Hudson's Bay with an Indian Guide signed 'Peter Rindisbacher' (lower right)watercolour and bodycolour19.1 x 28.2cm (7 1/2 x 11 1/8in).on watermarked paper 'JR/1824'Footnotes:Peter Rindisbacher was born in 1806 in Eggiwil, Berne, Switzerland. From a young age he trained professionally with Alpine watercolour landscape artist and printmaker, Jakob Samuel Weibel (1771-1846). In 1821, at age 15, he immigrated to British North America (Canada) with his large family via Hudson Bay to Lord Selkirk's Red River settlement (Winnipeg) where he continued to paint. In 1826, after five challenging years in Canada, the family moved to the United States and Peter eventually settled in St. Louis, Missouri, where he prospered and painted, but died prematurely in 1834.Rindisbacher found there to be a market for his portrayals of his remarkable voyage and life experience in North America. Increasing demand for his highly prized subjects of the regions Native culture caused him to generate several finished variants of his work in his inimitable, crisp and brilliant graphic style. Working not only for local commissions, but also having limited numbers of his watercolours engraved to satisfy the printed culture and illustrated press of Europe and North America at the time. The brief permeation of his work lent him a degree of fame in his lifetime.In reference to a very closely comparable work offered by Bonhams in 2008, Gilbert Gignac, independent Curator previously with Library and Archives Canada in Ottawa, noted: 'Rindisbacher's lyrical procession, 'Dog Cariole' denotes a genteel scene of a unique mode of winter transport gliding over the western prairie. This version [...] is unquestionably one of the finest watercolours from the hand of the artist. Set on the stark-white, winter prairie before a burst of blue clouds, the group's elegant classical design is punctuated with vibrant reds, yellows and blues. The work was held in such high esteem as to figure amongst the six earliest lithographic views after Rindisbacher's work, published by the Hudson's Bay Company in London, in 1825.The compelling beauty of Rindisbacher's work continues to also captivate scholars in Europe and North America, whose [...] research [...] sheds light on his work and his interpretations of North American Native culture. The ever-increasing swell of appreciation for his oeuvre justly recognizes its brilliant and enriching contribution to early North American western art.'For further information on this lot please visit Bonhams.com
SOUTH AFRICAThe Cape of Good Hope Calendar, and Agriculturist's Guide: Containing a Correct Account of All the Public Offices, Military Forces, and other Establishments in that Colony. Together with a Brief Description of its Soil, Agriculture, and Commerce. Intended for the Use of Persons who may become Settlers, FIRST EDITION, lacking the map, light soiling and browning, untrimmed in publisher's boards, rebacked, printed title label on spine, covers stained and worn at corners, T. and J. Allman, and sold by Baldwin, Cradock and Joy, 1819--SEMPLE (ROBERT) Walks and Sketches at the Cape of Good Hope; to which is Subjoined, a Journey from Cape Town to Blettenberg's Bay, FIRST EDITION, half-title, a little very light foxing, bookpate of Sir Joseph Radcliffe, contemporary half calf, spine a little worn [Mendelssohn II p.304.], C. & R. Baldwin, 1803--STOUT (BENJAMIN) Cape of Good Hope and its Dependences, bookplate of Sir Michael R. Shaw Stewart, untrimmed in publisher's boards, rebacked, soiled, cloth portfolio and slipcase [Mendelssohn II pp.445- 446], Edwards and Knibb, 1820, 8vo (3)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
TAGORE (SOURINDRO MOHUN)Six Principal Ragas, with a Brief View of Hindu Music, second edition, printed in red and black, 7 lithographed plates by Kristohury Doss, each mounted as issued, Sanskrit and western musical notation, publisher's blue cloth gilt, slightly rubbed, Calcutta, Calcutta Central Press Co., 1877; The Eight Principal Rasas [sic] of the Hindus, with Murtti and Vrindaka, or Tableaux and Dramatic Pieces Illustrating their Character, FIRST EDITION, title printed in red and black, 9 lithographed plates, music in Sanskrit and western musical notation, modern half morocco, some worm traces or single wormholes throughout (opening 5 leaves of text repaired with old archival tape), touching text and plates, some light soiling, Calcutta, Printed by I.C. Bose, for the Author, 1880, 4to (2)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
NORTH-WEST PASSAGE – FIRST ROSS EXPEDITIONTwo orders, signed ('JW Croker') as Secretary to the Admiralty to Captain Ross, R.N. ('Sir'), the first directing a number of Royal Marines to be selected from the Woolwich division '...for the ships about to proceed on the Northern Expedition of discovery, viz. for the Isabella and Dorothea...'; the second with reference to '...the vessels about to proceed to the Arctic seas...', advising him that charts '...for the use of the Sloop you command and the Alexander, with telescopes for the Boats and for looking out from the mast heads...' will be sent and advising they will reimburse him for the purchase of '...shot for procuring game... both of large and small as you shall think necessary...', the first docketed for filing, 3 pages, watermarks of Britannia and 'G. Pike/1815', creased at folds, light dust-staining and marks, narrow paper window mounts to lower half of each, folio (314 x 198mm.), Admiralty Office, 25 March and 2 April 1818Footnotes:'ABOUT TO PROCEED ON THE NORTHERN EXPEDITION OF DISCOVERY': BARROW'S ADMIRALTY SUPPLIES CAPTAIN JOHN ROSS WITH MEN AND EQUIPMENT FOR HIS FIRST ATTEMPT TO DISCOVER THE NORTH-WEST PASSAGE.The great impetus to discover the Northwest Passage was largely due to the efforts of John Barrow, second secretary of the Admiralty from 1804-1845. Following the Napoleonic Wars, he employed the navy, as shown here, in a series of expeditions to discover a valuable trade route from the North Atlantic via the Arctic to the Pacific Ocean. These orders refer to the first of such expeditions. Four ships departed with this purpose on 25 April 1818 and sailed up the east coast to Lerwick where they parted company – the Isabella and the Alexander under Captain John Ross were intended to proceed together in a north-westerly direction through Davis Strait, the other two, the Dorothea and the Trent under the command of Lieutenant William Edward Parry were to proceed due north through the Spitzbergen Seas. The Isabella and the Alexander had been adapted at Deptford for the special conditions of Arctic service and were well stocked with suitable provisions and the latest in scientific instruments.The voyage ended ignominiously when Ross was deceived by a mirage and declared the passage blocked by a range of mountains, which he named the Croker Mountains after the signatory of our orders. He returned home to a barrage of very public criticism which his reputation never really recovered from. He made a second unsuccessful attempt in 1829 aboard the steam vessel Victory, was passed over for Franklin's doomed expedition of 1845 but commanded a Franklin relief expedition in 1849, funded by a combination of his own money, that of gin-magnate Sir Felix Booth (who had also sponsored the Victory), and public subscription. Despite his dismal relations with the Admiralty, in terms of his peaceful interactions with the Inuit people, his accurate chart-making and, above all, his success in keeping his men safe on his expeditions, it has been argued that Ross' long career was one of the most successful of the Arctic explorers.For further information on this lot please visit Bonhams.com
William Pope (British/Canadian, 1811-1902)An extensive archive of fifty-four Canadian animal studies, comprised of forty ornithological studies and fourteen ichthyological studies most signed with initials 'W.P.', dated between 1834-47 and inscribed with an identification of the animal depictedwatercolour, bodycolour and pen and ink50 x 33.8cm (19 3/4 x 13 1/4in) and smaller. (54)unframedFootnotes:ProvenanceThe artist's family and thence by descent.ExhibitedSimcoe, Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).Simcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).Simcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection).William Pope has been described as the 'Canadian Audubon' in reference to his ornithological studies and their connection with the work of his contemporary, the great American artist and naturalist, John James Audubon. Both men had a passion for the birds of North America, their difference, however, lies in the approach to their work. Audubon was a professional whose greatest artistic achievement was the publication of his The Birds of America between the years 1827-38. On the other hand, Pope's artistic endeavours were of a highly personal nature and there is no evidence that he ever sought their publication or sale. Instead, his drawings were left to his family, and a large number are subsequently in the collection of the Toronto Public Library. The present collection comes from his direct descendants and represent the first of Pope's work to have ever been offered at auction. Born in Kent in 1811 to a wealthy family, Pope was able to indulge in his two great passions of painting and shooting. In 1834 he made his first journey to Canada to explore what he understood to be a place of great natural beauty, but also opportunity. In his journals from the time, he outlines his excitement upon setting sail from the UK:'...thoughts of a brighter hue rose quickly in my breast while fancy and imagination were busy picturing scenes and objects of the country I am going to visit'Although an arduous journey plagued with extreme weather, Pope recalls with great humour the delights to be found in these more difficult situations:'One other great source of fun and amusement was created by the total disarray of the eatables and drinkables at mealtimes, it being almost impossible sometimes to keep anything on the table... Sometimes legs of mutton and pork would all at once have the life instilled into them again, would quit their respective places and scrape an acquaintanceship with your person by bounding into your lap from which curious freak your dress would assuredly receive most sad and lasting remembrances of their close embrace.'These journals not only shed light on the realities of travel during this time, but they also highlight Pope's knowledge of birds, as from the moment of setting sail and throughout his travels, he lists the various species that he sights. Belonging to a different time, we also receive a first-hand account of how Pope came to get such a close look at these animals: 'To help pass away the time which hung heavily and wearily in travelling by tow boat at the rate of two miles per hour I got my gun out and amused myself in shooting some small birds. I killed a yellow bird a species of gold finch very similar to the European. I also shot a bird called the brown thrush. I saw several of both sorts of these birds and many others, robins, blue jays, kingfishers, crows and woodpeckers. I also observed some of the pretty little blue bird and some sand pipers.' He goes on to describe in greater detail his observations and interactions with some species:'I also saw many other sorts of birds, most of which were quite new to me (...) One (...) called the red headed woodpecker is a very beautiful and brilliant bird, its colours are bright scarlet upon the head and neck, back wings and tail black rump, secondaries of the wings and breast white. It is a very conspicuous and sprightly bird flying and sitting upon fences having but little fear or regard for man.'Returning to England in 1835, Pope would go on to make several more trips to North America before settling permanently near Port Ryerse, Ontario, in 1859 until his death in 1902. Throughout this time, he continued to document with great artistry the wildlife of North America. He summarises this passion in his journal:'[I]n the morning I went out shooting the rest of the day I was occupied in painting a bird – these were my two principal amusements during the [time in Upper Canada].'For further information on this lot please visit Bonhams.com
AFTER MRS W.L.L. Scott'Simla Suddur Bazaar, Racket Court & Church - Sunrise'; with 8 further views of the Himalayashand-coloured lithographs by Th. Picken and W. Walton after Mrs Scott, laid down and window-mounted, some light spotting, one with short tear, 2 with light dampstain, published by Henry Graves & Co., 185233 x 52.5cm (13 x 20 11/16in).image 33 x 52.5cm. (13 x 20 11/16in.) or similar. (9)Footnotes:Other views comprise: 'The Snow Range from Nagkanda Staging Bungalow - Sunset'; 'Lysium Hill, Simla, and the Government House of Former Years' [pictorial title-page of 'Views in the Himalayas']; 'The Lawrence Asylum and Soniawur Hills - Sunset'; 'Kussowlie and the Plains Beyond - Sunrise'; 'The Village of Koomarsen on the Left-hand Range. The Kooloo and Kote, Kangra Ranges in the Distance - Sunrise'; 'Suspension Bridge on the High Road from Kussowlie to Hurrepore - Sunrise'; 'Simla Prospect Point, Boileau Gunge, Bentick Castle, the Suddur Bazaar & Unfinished Church - Sunrise'; 'The Mission Bungalow and School House, Theog. The Forests of Mahassone and Phago in the Distance - Sunrise'.Mrs. Scott published her book, Views in the Himalayas, in aid of the Lawrence Asylum for the orphans of British soldiers near Simla, and in response from friends for 'some correct views of Scenes in the Himalayas familiar to the everyday traveller.... [So she] commenced the undertaking with slight prospects of success; delicate health, limited hours, and the rainy season, materially interrupting the progress of the drawings, which required to be finished on the spot' (Archer and Lightbown, India Observed, 1982).For further information on this lot please visit Bonhams.com
After Dominick Sarsfield Greene (1826-1892)'Calcutta, from Chouringee Road'; and 5 further views of Indiatinted lithographs after Sarsfield Greene, laid down within window-mounts, light spotting, for T. McLean, [1859]image 37 x 52cm. (14 9/16 x 20 1/2in.), or similar (6)Footnotes:The other views: 'The River Hoogly, from The Course, Calcutta'; 'View from the Doomree Bungalow. Detachment Moving Off'; 'View near Benares'; 'The Rajmahaj Hills, Bengal'; 'Advance from Cawnpore of Windham's Division'.For further information on this lot please visit Bonhams.com
ECKSTEIN (OSCAR)The Karakorams and Kashmir. An Account of a Journey, FIRST EDITION, advertisement leaf before half-title, light spotting, uncut in publisher's red cloth lettered in gilt with printed view of the Karakorams mounted on upper cover, age soiled [Neate E07; Yakushi E10], 8vo, T. Fisher Unwin, 1896Footnotes:'Eckenstein was both a pioneer in the development of the athletic potential of the human body on rock, and an innovator in the technology of mountaineering' (ODNB). The work is devoted to a climbing expedition to the Karakorams in India, undertaken in April-August 1892. In later years Eckenstein was a climbing companion of Aleister Crowley.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
ROSS (JAMES CLARK)A Voyage of Discovery and Research in the Southern and Antarctic Regions, during the Years 1839-43, 2 vol., FIRST EDITION, 8 tinted lithographed plates (one folding), 8 engraved maps (3 folding), text illustrations, 16 pp. of advertisements (dated January 1847, earliest issue), occasional light spotting, publisher's blue-green pictorial cloth gilt, with the binding ticket of Edmonds & Redmond on rear paste-down endpaper of volume 1, some fading to spines with small abrasions at spine ends but generally a bright copy [Abbey Travel 610; Ferguson 4636; Hill 1487; Sabin 73367; Denucé 2467; Spence 993; Renard 1328; Conrad, p.61; Rosove 276.A1a ('scarce')], 8vo, John Murray, 1847Footnotes:'This is one of the most important works in the history of Antarctic exploration' (Hill). The author, nephew of the Arctic explorer Sir John Ross, led this expedition for the purpose of Antarctic discovery and magnetic surveys, during which Antarctica was circumnavigated. Ross discovered what are now Ross Sea, Ross Island, the Ross Ice Shelf, Victoria Land, Erebus and Terror Gulf, and attempted to penetrate the Weddell Sea.Provenance: James Frampton, armorial bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
WILLIAMSON (THOMAS) AND FRANCIS WILLIAM BLAGDONThe European in India; From a Collection of Drawings by Charles Doyley; With a Preface and Copious Descriptions... Accompanied With a Brief History of Ancient and Modern India, FIRST EDITION, 20 uncoloured aquatint plates after D'Oyly, without half-title, good margins, occasional light toning or odd spot, modern boards [Abbey Travel 435; Tooley 185], 4to (300 x 235mm.), Edward Orme, 1813This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
CHERRY-GARRARD (APSLEY)The Worst Journey in the World, first one volume edition, AUTHOR'S PRESENTATION COPY INSCRIBED '... To Commander Tony Barley by Apsley Cherry-Garrard, June 20th 1950' on the front free endpaper, half-title, 10 plates, 4 folding maps, some light spotting, publisher' cloth, spine sun soiled, 8vo, Produced by the Author, and Published for Him by Chatto & Windus, 1937Footnotes:AUTHOR'S PRESENTATION COPY of a true classic of Antarctic literature, recounting the 'Winter Journey in 1911 to obtain specimen eggs from the emperor penguin rookery at Cape Crozier.... a hazardous round trip of 120 miles in darkness, at temperatures in excess of -70 °F, an exploit which is still without parallel in the annals of polar exploration... later Scott described their journey as 'the hardest that has ever been made'' (ODNB). First published in 1922, this single volume edition was produced at the instigation of the author, retaining the full text, and with a new preface by Cherry-Garrard noting that the production of a book 'is fun - paper, print, margins, maps...', but mostly devoted to a eulogy of his companion on the 'Worst Journey' E.A. Atkinson who had died in 1929, and a plea to avoid a further war.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
BELGIAN ANTARCTIC EXPEDITION - ADRIEN DE GERLACHE'La Belgica 1898', photograph showing the ship stuck in the ice with three crew members in the foreground, INSCRIBED BY ADRIEN DE GERLACHE 'Souvenir cordial à mon amie Berthe. A. de Gerlache' with caption on the mount, albumen print, light abrasions upper right, on original mount (small loss to one corner), image 115 x 163mm., mount 220 x 270mm., [1898, printed later]Footnotes:Fine photograph of the Belgica held fast in the ice, inscribed by the expedition leader Adrien de Gerlache.The Belgica set out from Antwerp at the end of August 1897, on what was 'one of the most fascinating of the early Antarctic expeditions and also probably the least comfortable one to have taken part in for all concerned' (Cool Antarctica website). By March 1898 the ship was stuck in the ice, forcing the crew to remain in the Antarctic over winter (including 63 days of total darkness) before eventually escaping the ice in February the following year.In the face of such adversity the expedition still managed to gather an important collection of scientific data (which had been the expedition's main goal), hugely beneficial for the following voyages to Antarctica, including that led by Roald Amundsen, who served on Belgica as first mate.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
RICHARDSON (JOHN)Ichthyology of the Voyage of H.M.S. Erebus & Terror, Under the Command of Captain Sir James Clark Ross [... During the Years 1839-1843], FIRST EDITION, 60 lithographed plates, light foxing to plates, shelfmark pencilled on title, later cloth, lightly rubbed [Nissen IVB 3386; Spence 971], folio, [Janson & Sons], 1844-1848This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
AMUNDSEN (ROALD)The South Pole: an Account of the Norwegian Antarctic Expedition in the 'Fram', 1910-1912, 2 vol., first English edition, translated by A.G. Chater, half-titles, portrait frontispiece, plates (mostly photographic) and maps (2 folding), light spotting, new endpapers, publisher's maroon cloth, upper covers and spines with Norwegian flag and lettered in gilt, t.e.g., rubbed, with some abrasions to spine flags [Rosove 9.A1; Spence 16; Taurus Collection 71], 8vo, John Murray, 1912Footnotes:First edition in English of Amundsen's account of his triumphant expedition to the South Pole. 'To their credit, John Murray produced a two volume set of real quality, incorporating the Norwegian flag, despite realizing that British disappointment at being beaten to the Pole would ensure that it was not a publishing success in the United Kingdom' (Taurus Collection). The English edition also saw the inclusion of ten additional photographic illustrations not used in the original Norwegian version.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lt. Col. William Godfrey Rayson Masters (British, 19th century)An album of sixty-five works on paper documenting Masters' 1857-1861 expedition from England to Southeast Asia with the Royal Marines, on board HMS Chesapeake This album comprises both topographical views and scenes of human interest, to include:England (4)South Africa (2)India (3) and Sri Lanka (6)North East Africa and the Red Sea (5)Malaysia (2), Hong Kong (6), China (26) and Japan (5)Mauritius (3)works are variously signed and most are inscribed on the mount with their location and datewatercolouralbum size 33.5 x 52 x 5cm (13 3/16 x 20 1/2 x 2in).Footnotes:Lt Col William Godfrey Rayson Masters joined the Royal Marines as a Second Lieutenant in 1842. This album documents Masters' service on board HMS Chesapeake from 1857-1861 and provides a detailed account of the topography and people encountered during these years. Most extensively covered in this album are his time served in India, being present at the Indian Mutiny (1857-1858), and in China (1859-1861). However, there are also watercolours showing that the Chesapeake travelled from England to South Africa, up the Gulf of Aden into the Red Sea, around Sri Lanka, and on to Malaysia, China and Japan, finishing in Mauritius. During the Second Opium War (1856-1860), Masters commanded the Second Battalion Royal Marines Light Infantry (RMLI) at the attack on the Peiho Forts, 25 June 1859. This album includes a watercolour of these very same forts on the date of the failed attack. He was severely wounded in this engagement and received a mention in despatches. Masters returned to England after this expedition and for many years served as the Barrackmaster at the Chatham Division, RMLI. Here he continued to sketch and draw day-to-day life in the military. A large collection of his work is now held in the National Museum of the Royal Navy. Not only is this album the most significant collection of works by Masters to come to auction, it is also offers a rare insight into a period a great historical importance.For further information on this lot please visit Bonhams.com
SHACKLETON (ERNEST HENRY)Letter signed ('E.H. Shackleton') to 'Mr. [Charles] Buchel', apologising that a 'rush of work has prevented me from going up to you' but suggesting that 'I'll come for a final sitting directly after Xmas', 1 page with integral blank leaf (with lower portion torn away), light old fold and dusting, 8vo, Marlborough Club, Pall Mall, Dec. 21, 1919Footnotes:Shackleton writing to the artist Charles Buchel to organise a sitting for his portrait, presumably the oil now held by the National Gallery of Ireland. Having been demobilised in March, by December 1919 Shackleton had been 'reduced to lecturing on the Endurance... [appearing] twice daily at the Philarmonic Hall in Great Portland Street. It was drudgery and worse... for often he faced half empty houses' (Roland Huntford, Shackleton, 1985). That South, his record of the expedition, was also published in this month to a good reception, together with Buchel's commission to paint his portrait, suggests however that Shackleton's extraordinary achievements in the Antarctic had not been forgotten at this time.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
CALCUTTA IMPRINTSJERVIS (THOMAS BEST, of the Engineer Corps) Records of Ancient Science, Exemplified in the Primitive Universal Standard of Weights and Measures, ink inscription 'Elphinstone College' on half-title, with stamp in the margin of the final page, 2 single wormholes to opening pages, half-title splitting at gutter margin and small loss to one corner, modern half morocco, Calcutta, Baptist Mission Press, 1835--[APPERLEY (CHARLES JAMES)] The Chace, the Turf, and the Road. By Nimrod, 10 lithographed plates by Henry Alken, occasional light dampstains, one plate slightly frayed at upper margin, ownership inscription dated 19 June 1838 inside upper cover, original green cloth, remnant of printed spine label, spine split with small losses, Calcutta, William Rushton, 1838--LOVER (SAMUEL) Rory O'More: A National Romance, 15 wood-engraved plates, some foxing, contemporary green half calf, worn, some loss to spine, Calcutta, William Rushton, 1837, 8vo (3)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
TAYLER (WILLIAM)Sketches Illustrating the Manners & Customs of the Indians & Anglo Indians Drawn on Stone from the Original Drawings from Life, FIRST AND ONLY EDITION, title, dedication leaf to Lady William Bentinck, 6 hand-coloured lithographed plates by J. Bouvier after Tayler, each with letterpress description, some toning to plates (3 with minor loss to lower fore-corner), some spotting and foxing to text leaves, contents loose in publisher's cloth, gilt lettered on upper cover, rebacked [Abbey Travel 465; Colas 2858], folio (538 x 264mm.), Thomas McLean, 1842Footnotes:RARE suite of plates, captioned: The Young Civilian's Toilet; The Young Lady's Toilet; The Breakfast; The Women Grinding at the Mill; The Sunyasees; The Village Barber.William Tayler (1808–1892), educated at Charterhouse, arrived in Bengal in 1829, where he served in various capacities for the East India Company. 'A keen amateur dramatist and skilful caricaturist, but while his witty portraits of Anglo-Indian notables won him some influential friends in Calcutta, the light-hearted nature of his artistic pursuits earned for him a reputation as a somewhat flighty, unserious officer' (ODNB).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
CHERRY-GARRARD (APSLEY)The Worst Journey in the World. Antarctic 1910-1913, 2 vol., FIRST EDITION, half-titles, 48 plates (6 colour, 10 folding panoramas), 5 maps (4 folding), light spotting particularly to fore-edges, vol. 1 with 2 pages loose and panoramas roughly folded, publisher's cloth-backed blue-grey boards, paper spine labels, vol. 1 soiled and rubbed, vol. 2 with dust-jacket (soiled, short tears and small loss to blank area of lower panel) and additional label tipped-in [Spence 277; Taurus 84], 8vo, Constable & Co., 1922Footnotes:First edition of a classic work of literature from the Heroic Age of Antarctic exploration, recounting Cherry-Garrard's Winter Journey, as part of the Terra Nova expedition 'to obtain specimen eggs from the emperor penguin rookery at Cape Crozier.... a hazardous round trip of 120 miles in darkness, at temperatures in excess of -70 °F, an exploit which is still without parallel in the annals of polar exploration... later Scott described their journey as 'the hardest that has ever been made'' (ODNB).Provenance: E.M. Kingdon, ownership inscriptions on front free endpapers dated Christmas 1922.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
PERSIAN GULF - WORLD WAR II MILITARY MAPSHofuf; Bandar 'Abbas, a pair of military maps of the Persian Gulf, from the desert beyond Hofuf towards Riyadh in the West, to Bent and Fanouj in Eastern Iran, and Kerman Province, Iran in the North to the Qatar/Saudi Arabian border in the South, colour printed, each captioned 'Restricted', with references to terrain, oil wells and pipelines, transport network, an Arabic glossary (also Farsi glossary on Bandar 'Abbas map), and (in red) 'Reference to Air Information as Supplied by H.Q. R.A.F... 1944', the Bandar 'Abbas map with 'Flight Line Overprint', light fold creases, sheet size 645 x 815mm., 'Reprinted by 17 Map Reproduction Section, R.E., Sept. 1944' (2)Footnotes:Scarce World War II military maps of the Persian Gulf, both marked 'Restricted', overprinted with Royal Air Force information on functional and abandoned airfields, landing grounds, etc., and flight lines, in addition to detailed information on local terrains, cities, tribal names, oil wells and pipelines, etc.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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![SHACKLETON (ERNEST HENRY)[The Heart of the Antarctic] The Antarctic Book. Winter Quarters 1907-1909, ONE OF 300 COPIES, sign](https://cdn.globalauctionplatform.com/06eec964-5eaa-4c09-8fc4-ad8a00c41dfb/82b54150-2e86-4fd5-a2c5-ad8a00cae1f7/468x382.jpg)
![SHACKLETON (ERNEST HENRY)Letter signed ('E.H. Shackleton') to 'Mr. [Charles] Buchel', apologising that a 'rush of work has pr](https://cdn.globalauctionplatform.com/06eec964-5eaa-4c09-8fc4-ad8a00c41dfb/4ace073e-ca92-450a-a5f1-ad8a00caf8cb/468x382.jpg)
