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Preisdatenbank abonnierenConnecticut: The Easton Press, 1988. Hardcover leather bound light brown book with gilded motif on the cover. H.J. Eckenrode (1881-1948) was an American historian. Rutherford B. Hayes, a 363-page biography, delves into the life and presidency of the 19th president of the United States. Artist: H.J. EckenrodeIssued: 1988Dimensions: 6.25"L x 1.5"W x 9.5"HManufacturer: The Easton PressCountry of Origin: United StatesCondition: Very good.
Gregorio Vázquez de Arce (Bogotá, Colombia, 1638 - 1711) “The Mercedarians of the prison of Santa Fe de Bogota”Oil on canvas. 179,5 x 237 cm. This is one of the greatest examples of the undisputed quality of Gregorio Vásquez de Arce, an influential Colombian painter, the most important painter from 17th century New Granada. This enormous canvas of exquisite workmanship is also a historical record of vital importance, testifying to the existence of specific jails and prisons in the 18th century. Their population has been quantified through the study carried out by Doctor Juan Sebastián Ariza Martínez, “in this royal court jail of Santafé according to the visitor's books (1776-1783)”. On the ARCA website they report that Vasquez de Arce “was imprisoned in 1701 and a large part of his works, 42 of them commissioned by the Sagrario Chapel in Bogota, were finished in jail.”This information is particularly relevant to the painting we have here, as the artist would have been in the same prison (cell, hospital, convent...) that the painting depicts. In fact, the painter appears in a self-portrait in the right margin, contemplatively witnessing a Mercedarian, a religious order dedicated to captives and prisoners, washing the feet of one of the prisoners who was to be released on Holy Thursday. The moment of the “Washing of the feet” is only present in the Gospel of John and symbolically represents a reminder of the act of humility, service and forgiveness that Jesus performed during the last supper, and that is commemorated every Holy Thursday by the Catholic Church. Once released from prison, in 1710, he fell into poverty and mental illness and died in 1711. This painting bears undeniable similarities with one of the most important and popular artworks by Gregorio Vásquez, “The Abbot Joaquín de Fiore delivering the portraits of St. Francis and St. Dominic”, an oil painting on canvas dated in1680. On that canvas, the artist painted a self portrait, with his back turned, and showing his features in profile, with an aquiline nose. This corresponds to the character located more to the right of this scene we have here.Aditionally, we recognize an identical palette of soft and attenuated color based on grays and earthy colors, the same pictorial technique, which is characteristic of Vasquez, and the same treatment of the volumes of the characters in the painting and the use of architecture to situate the scene, creating spaces, shadows and light. It is usual in the very large Gregorio Vasquez paintings, he places the scenic narrative in an architectural space. We find it in this painting that we have here in the catalog and also in “Heliodorus shot by angels”, which was painted at the end of the 17th century, as well as in the Scene of "San Juan de Dios" that is in the Church of San Juan de Dios in Bogota. In the wonderful painting “St. Albertus Magnus preaching” belonging to a private collection in Bogota, we find similarities in the treatment of the religious characters, with a somewhat bluish complexion, the disposition of the bodies and once again the use of an architectural element.It is also interesting to note the similarities in the face of the character that we identify in our canvas as the painter, with his self-portrait made in 1685. These comparisons lead us to conclude that the character appearing at the extreme right of this canvas is undoubtedly the artist.An additional interesting point is that the model used for the "St. Jude Thaddeus" by Gregorio Vasquez, which is kept in the collection at the Museos Banco de la República, seems to be the same as the one used for the Mercedarian monk who is washing the feet of the prisoner; having same bone structure, with marked cheekbones, a long, thin nose, the same hairline with a widow's peak and a beard and mustache.The same model is used again by Vasquez to portray the Repentant Saint Peter found in the Sagrario Chapel in Bogota, or in the Head of the Apostle James the Less in the Rivas Sacconi collection in Bogota.Finally, as was usual in his subject matter, religious devotion takes center stage as his patrons were mostly members of religious communities, in this case dedicated to the Mercedarians.Marta Fajardo de Rueda, in an interesting article in the National University of Colombia magazine HiSTOReLo, affirms, in relation to the importance of the painter, that “with the work of Gregorio Vásquez and some of his followers, the existence of a Santa Fe school of painting can be identified. They had a similar interpretation of the engravings from which they assimilated the fundamentals of baroque painting. They are characterized by an attenuated use of color, which differentiates them from painters from other parts of Latin America. Undoubtedly, Vasquez stands out among them all for his mastery of drawing and balanced composition. With the training he received in the Figueroas' workshop and the skills he acquired through the continuous exercise of his work, he consolidated his own characteristic style.” The importance of Gregorio Vásquez de Arce y Ceballos in the panorama of viceregal art is undeniable. Despite having produced a vast amount of paintings, his technical skill and the spiritual depth of his paintings continue to be admired and studied by scholars, collectors and museums around the world. The artist, of whom many biographies have been written, such as those by José Manuel Groot, Alberto Urdaneta and Roberto Pizano, has a large body of work that can still be found today in churches, convents and museums such as the Museo de Arte Colonial de Bogotá, which houses numerous canvases, some miniatures, and one hundred and five drawings: the largest collection of the painter's work. Reference bibliography: - Fajardo, Marta. (2014). Grabados europeos y pintura en el Nuevo Reino de Granada. “HiSTOReLo” Vol. 6, Nº 11, 68-125. - Fajardo, Marta. (s.f.). “Gregorio Vásquez de Arce y Ceballos”. Real Academia de la Historia. https://dbe.rah.es/biografias/21372/gregorio-vasquez-de-arce-y-ceballos - Sebastián, Santiago. (1985). "Gregorio Vásquez: la vida y obra del pintor más importante del Nuevo Reino de Granada".
Federico Barocci Workshop (Urbino, 1535 - 1612)“Pietà: sorrow and lament on the death of Christ”Oil on canvas.93 x 73 cm.Exquisite canvas, very much of the Italian school, which invites silence and reverence. Devotion, colors full of delicacy and tenderness, nuanced out of respect for the moment that is being portrayed, where “the light almost dissolves the drawn forms”... “in delicate chromatic reverberations”. This is how Barocci and his workshop choose to make themselves felt in this painting.The canvas shows the transition between two moments: the Pietà -on the one hand- and a funeral lament - on the other- , similar in content, but the two different scenes are interspersed between the Descent from the Cross and the Holy Burial. The Pietà shows the inert body of the crucified Christ resting in the arms of his mother, who receives him with contained pain. In the lament or weeping over the body of the dead Christ, his body is placed on a shroud (already in the painting) and from there it passes to the stone of the anointing (the angels, with extreme and mystical delicacy, move the body towards the stone, in the foreground, with the symbols of the Passion). Around the body are arranged all those who will burst into laments and sobs, here still contained.The face and the shape of the body of Christ is very similar to that of the Christ of the Descent from the Cross, a painting almost 5 meters high, by Barocci, which we can see today in the cathedral of Perugia, and which was painted in the last quarter of the 16th century.The Pietà does not appear in the Gospels, its origin is the mystical literature of the late Middle Ages, although from an art point of view it seems to derive from the theme of the Virgin of Humility, where the Child has been replaced by the inert body of the Crucified Christ. It is derived from the lamentations before the dead Son, a theme of Byzantine origin that concentrates the attention on the drama of the Passion in a realistic and moving sense, giving rise to loving and sorrowful contemplation.Whether it be Our Lady of Mercy, Our Lady of Sorrows, Our Lady of Anguish, Our Lady of the Passion, Weeping over the body of the dead Christ, Lamentation over the dead Christ, Planctus Mariae..... These are all scenes of popular fervor and of a mystical and religious attitude that invite us to meditate and to concentrate our attention on the drama of the Passion, and on loving contemplation, with a realistic and moving sense, of the adoration of the Redeemer by his mother and by us as faithful worshippers. This is a scene that invites us to ascend on the path of our personal spiritual life, through meditation and contemplation and through keeping silence.
Luigi Amidani (Parma, 1591 - after 1629)“Martyrdom of St. Matthias”Oil on canvas. 206 x 125 cm.This is a painting that was previously unknown to the art market. This large format picture was already mentioned and reproduced in 1965, in an art magazine in Jerez de la Frontera, Spain. The private collection where this canvas was found, together with another (“Martyrdom of St. Andrew”), with which it was paired, is also located in the same town. It was then considered a Luigi Miradori, according to another scholar (Pérez Sánchez). And previously, in the 19th century, it had other and varied attributions. Professor Massimo Pullin made a study on Amidani (1591-1629) and an attribution to this Italian Baroque painter. He used the method of viewing and comparing as many paintings by the artist as possible from many world art galleries, cathedrals and private collections, as well as compiling all the writings and studies related to this Italian painter written until then, with opinions of scholars and curators of art galleries such as the Louvre itself.For his rigorous study, he observed and contemplated in depth all the work by Amidani that existed in Spain (the so-called “Iberian stage” of the painter in which he broke loose from being a mere copyist): on the one hand, a series of ten small paintings (0.43 x 0.35 cm) depicting the “Martyrdoms of the Apostles”, which were in the Royal Academy of San Fernando belonging to the novitiate of the Jesuits in Seville, (then attributed to Tintoretto) and which were in the Academy before 1796 (brought by Ponz); This attribution changed in 1804, in the "Inventario de Alhajas" (Inventory of Treasures), and the new attribution was to Pablo de Céspedes - a painter from Cordoba, as was then noted in ink on the back of the frames. This mistaken attribution was maintained throughout the 19th century, until it was modified by Alfonso Pérez Sánchez in the 1963/64 inventory in which, he proposed Luigi Miradori as the artist. Massimo Pullini in the 21st century (2020) disputed the previous authorship as he recognized the style of the Italian Baroque painter who accompanied Velázquez on his first trip to Italy, in most of this small series. In addition, Luigi Amidani was a favorite disciple of Bartolomé Schedoni, a painter linked to the Farnese family who, in turn, had a close relationship with Velázquez on the occasion of that first trip to Italy. Some of these small-format paintings, which were always on view to students and teachers at the Academy, served as inspiration for later paintings. Massimo, on the other hand, also studied the remains of what could have been another series of the same subject (martyrdoms of apostles) in a larger format, in Spain and in other art galleries around the world, which house the martyrdoms of St. Peter and St. Paul in the Museum of Fine Arts in Valencia, and those of St. Andrew and St. Matthias in a private collection in Jerez de la Frontera, (one of them, the painting we are commenting on).In the small format painting “The Martyrdom of St. Matthias”, the saint is shown lying down and dressed, being viciously stoned by his executioners. In the large format work we have here in our catalog, he appears half-naked, in the style of St. Andrew, St. John, St. Jude Thaddeus, St. Bartholomew..., the torsos are exposed and covered by peplos or remains of tunics or torn and hanging clothes. Professor M. Pullini observes the figures' morphology and expressions as being similar to those of the large format painting from Jerez de la Frontera, faces “that can well be defined as neo-Gothic, full of a hardness that at times borders on the grotesque”. In this large canvas the saint is depicted as being stripped between two soldiers, and in the foreground, kneeling, is the one who announces the method of martyrdom, carrying a basket full of stones. According to tradition, the saint was stoned in Judea around the year 80, after being condemned to death by the High Priest, and later beheaded with an axe for having opposed Caesar.His face does not lose courage or strength, and despite the intuition that he is going to die, he looks on with the strength of the One who fills him with his truth. The large vertical format of the painting must certainly have been chosen to complete the pictorial collection of some chapel or church. Crudeness in the images, pronounced foreshortenings, and violent effects of light are very reminiscent of the influences exerted by the master Caravaggio, and his mature style and the abrupt chromatic contrasts are very much influenced by Ribera.Two other canvases also studied by Massimo could come from this same large-format series. No longer in Spain, the so-called “Stoning of an Apostle” which appeared on the London antique market and the “Martyrdom of St. Paul” that can be found in the Schloss Weißenstein in Pommersfelden (Germany). Reference bibliography:Bibliografía de referencia:- Luzón Nogué, José María (ed.) (2022). "Velázquez en Italia. Entre Luigi Amidani y Juan de Córdoba". Madrid: Real Academia de Bellas Artes de San Fernando.- Pulini, Massimo (Noviembre de 2020). “Luigi Amidani da Parma a Madrid, da pittore dei Farnese a ‘confidente’ di Velázquez”. About Art On Line.- VV. AA. (2000). Corpus velazqueño. Documentos y textos, 2 vols., bajo la dirección de J. M. Pita Andrade. Madrid.
Anton Domenico Gabbiani (Florence, 1652 - 1726)“Mystical nuptials of St. Catherine of Siena”.Oil on canvas.228 x 183,5 cm.Attached is a study by Professor Paolo Erasmo Mangiante, from which we extracted information for this catalog description. The altarpiece that we have here, with a reinforced stretcher, is the work of the Florentine Antonio Domenico Gabbiani, and was made in the second half of the sixteenth century. The Prado Museum describes this author as “the most sought after and admired of the Florentine painters of his time [whose] frescoes and canvases decorate palaces and churches in Tuscany, such as the ceilings of Palazzo Pitti, those of the Villa of Poggio a Caiano, and the frescoes of the San Frediano di Castello church dome, at the time that Rococo style was emerging. In his artworks, Gabbiani recovers the Florentine tradition of meticulous draftsmanship and employs perfect technique, in the early years his style was spontaneous and light, and later, rigorous and cold, tinged with academicism”.Mangiante goes on to state that the “pictorial composition is, in fact, similar to that of other altarpieces executed in this period by Gabbiani” and that “Gabbiani's method for creating this stupendous altarpiece employs numerous, meticulous pictorial details, such as the folds of the clothes, the delicate anatomy of the fingers of the hands, their elegant gesture, the beauty of the angelic faces and the particular intensity of expression of the curly head of Christ. All these qualities, as well as the intense chromatism and the high quality of the pictorial material demonstrate the great commitment the Florentine painter had in the execution of this important painting, which is included among his most accomplished artworks.”It is, in short, an extraordinary canvas in the form of a door with a semicircular arch of authentic religious perfection, which captures the ineffable moment of union of the soul with God through love, with the ecstasy of the Dominican saint, already an abbess, and the revelation of the wounds of her Beloved. In a silent atmosphere of prayer and reverence attended by a choir of adoring and contemplating angels, everything in the painting shows veneration and plenitude.This large format canvas by Gabbiani that crossed the borders of Italy, to move the spirits of the devout faithful and dedicated nuns who contemplate it, was possibly made for a convent of cloistered Dominican nuns. The art of the brushstroke in this oil painting is direct and triumphant, almost theatrical, with the capacity to seduce, move and conquer the viewer with strong feelings of love. The expressions on the faces and in the glances are harmonious, this is a scene that directly appeals to the emotions on a visceral level. Saint Catherine, considered to be one of the great mystics of her time, also stood out as a preacher and writer. In the painting, in fact, a wise angel can be seen in the lower left margin holding the pages of her spiritual treatises: the famous Dialogue of Divine Providence. Her decisive contribution to the return of the papacy to Rome after exile in Avignon was also outstanding. Doctor of the Church, patroness of Europe and Italy, she is a highly venerated and popular saint in foundations, churches and sanctuaries of the Dominican Order.Reference bibliography:- Museo del Prado. (s.f.). "Gabbiani, Anton Domenico". https://www.museodelprado.es/coleccion/artista/gabbiani-anton-domenico/ce702620-9999-4bb3-a4b8-ec66229b5968
Studio Pottery, 20th century - quantity of studio pottery comprising a raku fired bowl and eight further bowls; glazed earthenware; Raku bowl, height 6 cm, diam. 21.7 cm (9) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Condition Report: All pieces with general light surface wear to include minor scratches and marks commensurate with age and handling. Some pieces with fine craquelure to glaze.
A pair of brass-mounted pale blue glazed table lamps, late 20th century - each with each with faux oil burner fitment and circular base on four feet, pleated fabric shades, height 45 cm exc. fitment (2) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Note: It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.Condition Report: A couple of spots of light surface wear. Cut down at mouth and foot under mount. Bases have been removed entirely. Baseplate of mounts slightly loose. Images at this link. https://roseberysauctioneers-my.sharepoint.com/:f:/g/personal/rassennato_roseberys_co_uk/EtEF5TFim2hIs3lom4L8GIkBrpAQqOvzdBDE0WhybEu-NA?e=PSDcLg
A pair of French gilt-iron twin-light wall appliques, late 20th century - each with mirrored back-plate and hung with chains of faceted drops, height 56 cm (2) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Note: It is the buyer's responsibility to ensure that electrical items are professionally rewired for use
Marcel Breuer, Hungarian/German 1902-1981 - for Thonet Model 'S285' desk, c.2010; lacquered ash, chromed steel, with Manufacturer's label, H73 x W154 x D76 cm Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Condition Report: Overall general light surface wear to surfaces to include minor scratches and scuffs commensurate with use, otherwise in generally good clean overall condition.
Attrib. to Norah Braden, British 1901-2001 - oviform lamp base, glazed earthenware: together with three Ravenscourt vases by Dora Lunn and a Czech vase by P.A.W, late 19th to early 20th century, largest height 29 cm (5) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Condition Report: All pieces with general light surface wear to include minor scratches and marks commensurate with age and handling. Attrib Norah Braden lamp base with long crack around the inner base. Largest Ravenscourt vase with old, stapled repairs and small in-filled restorations along cracks throughout. Small blue Ravenscourt vase with unusual sunken circular area to shoulder from manufacture. the Turquoise Ravenscourt vase has had some restoration/ color touch ups to one side as visible under UV light.
An English cut-glass six-light chandelier, of George III style, 20th century - the baluster stem supporting scroll branches (one damaged), hung overall with chains of faceted drops, wired for electricity, height 78 cm to hanging ring, diam. 76 cm Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Note: It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.
Sir William Orpen KBE RA RHA, Irish 1878-1931 - Study for a seated girl (Fatima); ink on paper, 24.5 x 18 cm Provenance: Cynthia O'Connor Gallery, Dublin; Pyms Gallery, London, stock no.E694 and purchased from the above on the 23rd March 1990 (label attached to the reverse) Note: This is a classic example of Orpen's style, characterised by his attention to texture, light and shadow. Often portraying people he knew, Orpen skillfully captures a sense of realism and the distinct personality of his sitters. Works of a similar theme are held in public collections including the Tate Britain, London, Manchester Art Gallery and The Barber Institute of Fine Arts, Birmingham. Irish born Sir William Orpen was one of the most important artists working in early 20th century Britain and his work made while an Official War Artist in WWI are now considered amongst the most powerful paintings depicting war ever made. Orpen’s work was synonymous with the endeavours and achievements of Mary and Alan Hobart at Pyms Gallery, as they were instrumental in bringing about a reappraisal of his work in the late 20th century. Due to various feuds with Augustus John and Wyndham Lewis amongst others, Orpen's reputation has been tarnished following his death and was rarely exhibited or written about. From their 1982 ‘The Irish Revival’, the Hobarts exhibited important Irish modern artists at their gallery in London, bringing these figures back to prominence. Orpen’s work was central to their private collection and was featured heavily in the exhibition ‘Championing Irish Art: The Mary and Alan Hobart Collection’ at the Irish Museum of Modern Art in 2023.
An English tortoiseshell and silver pique desk stationary box, inkstand and desk wallet, William Comyns & Sons, London, 1935; inlaid with a patera, husk wreaths and ribbon tied swag motifs, applied drapery swags and husk borders, the backs in maroon leather, the box interior and wallet with red moire silk lined, the box H20 x W28.5 x D15 cm (3) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Condition Report: The box - the tortoiseshell in good condition with no cracks or splits. A minor diagonal abrasion at the front. The leather of the exterior with wear to the extremities and scratches consistent with age and use. The interior in good condition. The silk lining probably replaced. No key. The ink stand - very good overall condition with no obvious detractions. The blotter - Light surface abrasions to the cover. The applied border is lifting very slightly in two places. The leather back and spine with wear and scratches. The interior with wear, blemishes and splits to the silk, particularly down the spine. The blotter section is detached from the cover.
Harry Mitton Wilson, British 1873-1923 - Early Light, English Countryside, c.1904; oil on panel, inscribed with artist's name, date and title on the reverse, 16.5 x 23.5 cm Provenance: Pyms Gallery, London, stock no.E731 (label attached to the reverse of the frame) Exhibitions: Pyms Gallery, London, Alan and Mary Hobart present the art of Harry Mitton Wilson (1877-1923), Edwardian impressionist', 1st December 1998, cat. no.10
Charles & Ray Eames, American 1907-1978 and 1912-1988 for Vitra - 'EA208' Soft Pad office chair, c.2010; Aluminium, leather, plastic, with Manufacturer's label, H88 x W58 cm Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Condition Report: Structurally sound and sturdy. Overall general light surface wear commensurate with use, there are some scuffs to leather to top back corners of uprights, otherwise in generally good clean overall condition.
Studio Glass, 20th century - large quantity of studio glass to include pieces by Barovier & Toso, Orrefors, Adam Aaronson, Siddy Langley, Norman Stuart Clarke, George Elliott etc.; blown glass, Moulded & cut glass, Tallest height 35.5 cm (14) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Condition Report: The various items in this lot are overall in good condition with light general wear including mild scratches to the undersides, fingerprints and minor marks to the glass, in particular the Barovier & Toso jug in overall good condition with some minor rough edges to the pontil at the underside, one of the smaller blue goblets has an unusual mark to the foot but it is not on the surface of the top or underside and must originate from the time of manufacture.
Marcel Breuer, Hungarian/German 1902-1981 for Thonet - Model 'S285' desk, c.2010; lacquered ash, chromed steel, with Manufacturer's label, H73 x W154 x D76 cm Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Condition Report: Overall general surface wear throughout to include light scratches and scuffs commensurate with use. Three bolts to bank of drawers do not thread in properly, this does not affect stability of bank of drawers, (three loose bolts together with desk). There are two very minor nicks/losses to laminate to edge of bottom left hand shelf. Desk is without key.
A cased set of six silver champagne flutes, Asprey & Co., London, 1993; The plain bodies raised on knopped stems to moulded circular feet, gilded to interiors and stamped Asprey to undersides, height 17.3 cm, in fitted Asprey case, total weight approx. 28.7 ozt (6) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Condition Report: In good overall condition, with some light scratching and tarnishing. Some dark spots noted. One flute with a small patch to rim and a very minor split noted here under 10x magnification, possibly from time of manufacture. Gilding to interior in good condition. Hallmarks clear. Very slightly wobbly on feet. Overall nice champagne flutes which seem to have been only very lightly used. Please see the following link to download further images: https://we.tl/t-GtPvdSHhX4
A pair of George V silver candlesticks, Thomas Bradbury & Sons, London, 1916; Designed with oval bases to knopped stems and urn-shaped capitals with removable nozzles, bases filled, height 31 cm (pr.) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Condition Report: In good overall condition, with some surface scratching, pitting and minor nicking. Some tarnishing noted and some light wear noted to some parts of the reeded decoration. Marks clearly stamped. Please see the following link to download further images: https://we.tl/t-hHMJbdtVwc
Charles & Ray Eames, American 1907-1978 and 1912-1988 for Vitra - 'EA208' Soft Pad office chair, c.2010; aluminium, leather, plastic, with Manufacturer's label, H88 x W58 cm Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Condition Report: Structurally sound and sturdy. Overall general light surface wear commensurate with use, there are some scuffs to leather to top back corners of uprights, otherwise in generally good clean overall condition.
A Regency giltwood and simulated bronze decorated twin-light convex girandoleCirca 1815The later plate within a reeded slip and an alternating spiral reeded and beaded surround, encompassed by musket balls and a bead moulded edged frame, headed with scrolled acanthus and flowers, with a central mille raie inset pedestal-form cresting with a musket ball applied cornice, surmounted by an eagle with outstretched wings with a ring-hung ball and chain hanging from its beak, the apron comprised of scrolled foliage, a flowerhead, bellflower pendant and two opposing serpents, with two scrolled acanthus candle arms each terminating in a cut-glass dish pan with six faceted glass drops, re-gilt and re-decorated, 130cm high x 84cm wide.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A pair of French gilt bronze twin light wall appliquesIn the manner of Pierre-François and Lucien-François Feuchère (French, fl.1780-1824), probably late 19th centuryThe upward scrolling naturalistic arms cast with rose blossom and entwined foliage surmounted with corresponding flowerhead candle nozzles, each pair of arms issuing from a slender ribbon tied suspended drapery and tassel hung backplate centred by an elaborate flambe vase, 68.5cm high, 21cm wide, 12cm deep (2)Footnotes:The French fondeur Pierre-François Feuchère and his son Lucien-François operated one of the largest and most successful Parisian workshops for the production of luxury gilt bronze objects from the late 1760's up until the early decades of the 1800's producing numerous clocks cases, wall lights and candelabra for a wide international clientele including French, German and Austrian nobility.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A pair of French gilt bronze four light wall appliquesIn the Empire taste, probably early 19th centuryThe four short scrolling anthemion cast bracket arms supporting cylindrical milled candle nozzles above swept fluted collars, all issuing from corresponding milled hoop fittings, the back-plates formed as circular lions mask roundels, the beasts supporting the hoops in their open jaws beneath and below formalised acanthus leaf and pine cone crestings and terminals, 28cm high, 28cm wide, 22.5cm deep (3)For further information on this lot please visit Bonhams.com
A second quarter 19th century ormolu mounted tortoiseshell, brass and pewter 'Boulle' (or 'Buhl') marquetry side cabinetApparently English, possibly incorporating some Boulle marquetry of an earlier dateInlaid with interlaced stylised scrolled foliage, bellflower garlands, lambrequin lappets, husks and acanthus, the ebonised top above an alternating acanthus and stiff leaf mounted frieze interspersed with breakfront angles, over one central moulded panel mounted door with a central shaped beaded tablet mount with rams' mask terminals surmounted by a bacchus mask and terminating in acanthus cast lion paw feet, below a tasselled lambrequinned scrolled pedestal mount cast with two faun masks and surmounted by a Green Man mask, flanked by two glazed panel mounted doors, interspersed with engaged brass mounted husk stop-fluted Doric columns, the line-inlaid plinth base with four lion mask mounted angles, on six large mounted toupie feet, with English locks and some light red wash, approximately: 237cm wide x 56cm deep x 141cm high, (93in wide x 22in deep x 55 1/2in high)Footnotes:ProvenanceThe offered lot was previously at Portmore House, Peebles, in Scotland.The present cabinet thence passed by family descent to the current owner and vendor.Private Collection, U.K.A comparable 19th century English 'Boulle' or 'Buhl' marquetry side cabinet, albeit one of an apparently slightly later date, sold Christie's, London, 24 May 2018, The Collector, lot 541. Interestingly, this related example has a virtually identical configuration to the offered model, whilst the central 'Boulle' marquetry panel is also very similar.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A monumental Russian silver-gilt, six-light candelabra centrepieceSazikov, St. Petersburg, 1849, maker's mark incuse stamped in Cyrillic Сазиков beneath Imperial Warrant Naturalistically modelled as two fruiting trees, terminating in the central bowl which continues the naturalistic tree design, the six branches adorned with fruiting vines, terminating in drip trays and sconces naturalistically modelled as leaves, the central branches adorned with leaves, grapes and vines, a hound sits at the foot of the central branches, the base modelled as a rocky outcrop, which sits on a tripartite shaped plinth base, height 80cm, diameter 60cm.Footnotes:Ignaty Sazikov (1793 - 1868)Born in Moscow province in 1793, he moved with his family to Moscow where he was apprenticed to his father Pavel Fedorovich Sazikov. Upon his father's death in 1830, he took over his father's Moscow workshop and opened a factory and school for eighty trainee gold and silversmiths in St Petersburg. In 1846 the firm received the Imperial Warrant by Tsar Nicholas I, becoming official supplier of the Tsar and imperial family.Saleroom notices:Please note this lot is subject to an Import Low RateThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A George III style cut glass eight light chandelierEarly 20th century with some later additions The S scrolling arms with facetted diamond and slice cut urn nozzles with integral scallop edged dished drip pans above corresponding scallop edged flat collars, the alternating upward scrolling short decorative arms surmounted with scallop edged bell and triangular spire finials, all issuing from a facetted diamond bowl shaped receiver, the corresponding facetted diamond and slice cut urn and composite baluster central support surmounted by a scallop edged domed canopy with brass suspension ring, the corresponding lower canopy to the receiver with facetted ball terminal, the whole hung and strung with facetted graduated pear shaped pendant drops in sizes and strings of facetted oval beaded drops, 120cm high, 75cm diameter This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A pair of early 19th century gilt and patinated bronze three light wall appliquesIn the manner of Thomas Hope (Dutch-British, 1769-1831)The stylised lions mask backplates issuing circular girdles with florette and diamond cast frieze decoration mounted with stiff leaf cast urn nozzles with milled edge drip pans, 9.5cm high, 21cm wide, 20cm deepFor further information on this lot please visit Bonhams.com
A mid-twentieth century ruby and diamond dress ring, of bombé form, designed as a cluster of flowerheads with brilliant-cut diamond or circular-cut ruby centres, engraved decoration throughout, stamped ‘18.C’, ring size M. £400-£600 --- Condition Report General light surface wear commensurate with age and use. The rubies well matched and the diamonds bright and lively. Gross weight 12.2gm.
Omega. A gold limited edition tonneau-form wristwatch, The Petrograd Watch, The Museum Collection, Collector’s Series Number Four, No. 0780/1915, circa 2000. Movement: cal. 2200, automatic, 29 jewels. Dial: cream, stylised Arabic numerals, subsidiary seconds. Case: 18ct gold, back secured by eight screws, hinged wire lugs, no. 80701109, 18ct gold buckle. Signed: case, dial, movement and buckle. Dimensions: length 43mm, width 32mm. Accessories: Presentation case. £2,400-£3,600 --- Omega produced the Petrograd watch as part of their museum collection. The present watch is number 780 of 1915 pieces produced, which was based on one of their historic models. Condition Report Movement: running at the time of cataloguing. Dial: in good condition. Case: very light scuffs but overall in good condition. Gross weight: 101.3gms. Please note that the above condition report is a statement of opinion only and may not specify all mechanical replacements or imperfections. Watches are opened to examine the movements, no warranties are made that the watches are water-resistant. The watch has not been tested for the accuracy of its time keeping and would benefit from a service at the buyer’s expense. *Please note: In some circumstances we are unable to ship the watch with its strap due to certain import restrictions regarding material derived from endangered or protected species.
An Art Deco diamond ring, set with an old brilliant-cut diamond between stepped shoulders set with similarly-cut diamonds, stamped ‘PLAT’, total diamond weight approximately 1.20 carats, ring size U - V. £700-£900 --- Condition Report Principal diamond approximately 0.90 carat - principal diamond approximately I/J colour, SI2 clarity. Replacement shank with join lines evident. Otherwise light wear and overall good condition. Gross weight 3.8gm.
An 18ct gold amethyst and diamond dress ring by Alan Martin Gard, 1968, the oval mixed-cut amethyst edged by outset of brilliant-cut diamond highlights, within a raised textured and ribbed mount, the decoration extending to the shank, maker’s mark ‘AMG’, London hallmark, total diamond weight approximately 0.25 carat, ring size L - M. £1,500-£2,000 --- Alan Martin Gard (b.1935) is a London-based jeweller who formed part of the renaissance of Modern British jewellery design in the second half of the 20th century. After long apprenticeships at both Combies of Bond Street, and under Andrew Grima, Gard set out on his own in 1966. He has exhibited at both Goldsmiths’ Hall and the London Design Centre and has won various prizes including the De Beers Engagement ring design contest. He is still based at St. Cross Street in Hatton Garden. Condition Report Some very light surface scratches to the table of the amethyst. The amethyst of rich even hue. Hallmarks clear. In overall very good condition. Gross weight 14.4gm.
A pair of gem-set ear clips, the polished quatrefoils bezel-set with pear-shaped gemstones including amethyst, citrine and green and pink tourmalines, stamped ‘750’,length 22mm. £400-£600 --- Condition Report General light surface wear commensurate with use. The gemstones are vibrant and all with good saturation of colour. The clips with indistinct maker’s mark and two very rubbed stamps. Gross weight 11.7gm.
A boulder opal and gem-set pendant by Andrew Grima, 1984, the cabochon emerald and brilliant-cut diamond surmount suspending a polished boulder opal cabochon drop, mounted in 18ct gold, signed ‘GRIMA’, maker’s mark ‘AJ.Ltd’, London hallmark, length 5.5cm. £2,000-£3,000 --- Andrew Grima (1921 - 2007) was born in Rome to Italian-Maltese parents. Raised in London, he studied mechanical engineering at the University of Nottingham and during World War II, joined the Royal Engineers and served in Burma. After the war he started working in his father-in-law’s London jewellery firm. From 1951, when his father-in-law died, Grima took over the business, selling it to a gemstone dealer in Knightsbridge on the condition that he stayed on as a designer. Entirely self taught, his limitless imagination led him to create bold and striking designs – each piece being hand wrought, and typically only creating one of each design. In 1960 Grima’s talent was spotted by the Art Director at Goldsmiths’ Hall, Graham Hughes, who introduced his protégé to many of the rich and famous people who were to become his clients. In 1966 his success was sealed when Prince Philip chose one of his pieces, a stunning ruby brooch, as a present for the Queen, 1966 also being the year that Grima received his royal warrant. In the late 1960s he opened his exclusive gallery in Jermyn Street, Mayfair – the opening event being hosted by Lord Snowdon, then married to Princess Margaret, and his reputation continued to grow, attracting a clientele of royalty and society jet-setters of the day. Winner of numerous awards for his contribution to the jewellery industry, including the Duke of Edinburgh Prize for Elegant Design in 1966, and the De Beers Diamonds International Award – he won it 13 times (more than any other jeweller) – today Grima is recognised as being one of the great modernist jewellery designers of the 20th century. Condition Report General light surface wear commensurate with age and use. The emeralds with inclusions typical to the nature of the stone and the diamonds bright. The boulder opal with veins of green and blue. Gross weight 9.8gm.
A diamond five stone ring, the graduated brilliant-cut diamonds in open claw settings, between scroll engraved shoulders, stamped ‘18ct’, total diamond weight approximately 0.90 carat, ring size P. £300-£400 --- Condition Report General light surface wear to the mount and settings commensuarte with use. The shank resized at some stage. Gross weight 4.3gm.
A silver bangle by Malcolm Appleby, struck throughout with flowerheads and foliage, stylised stags and with a dove to either side, additionally applied with further flowerheads throughout, with engraved petal decoration to the underside, signed, dated ‘2012’, maker’s mark, Edinburgh hallmark for 2012, inner diameter 6.2cm. £200-£300 --- Please note ARR may apply to this lot. (Artist’s Resale Rights). Condition Report Light wear, overall good condition. Gross weight 37.4gm.
An 18ct white gold and diamond heart pendant on chain, the stylised heart set throughout with brilliant-cut diamonds and with baguette-cut diamond bale, the whole suspended by an 18ct white gold trace-link chain, UK hallmarks, total diamond weight approximately 0.85 carat, pendant length 22mm. £300-£500 --- Condition Report General light surface wear commensuarte with use. The diamonds bright and lively. Gross weight 5.4gm.
An early 19th century diamond brooch, set with an oval-cut diamond within a pierced lozenge-shaped surround with scroll and foliate detailing, set throughout with old brilliant and rose-cut diamonds, suspending a detachable drop designed en suite, mounted in silver and gold, closed back settings throughout, total diamond weight very approximately 5.50 carats, length 5.4cm. £3,000-£5,000 --- Condition Report Principal diamond approximately 1.40-1.50 carats, some chipping to the girdle, mostly hidden by setting, with yellow tint. The secondary stone is approximately 8.2 x 5.7mm; the collet setting is waisted, possibly to hide chipping to the sides of the stone. The remaining diamonds are all present. Variation in colour and cuts. Grey solder visible where pendant drop attached. The mount shows general light wear, commensurate with age. Later added safety chain. Gross weight 13.7gm.
An Art Deco aquamarine ring, the cut-cornered aquamarine claw-set to a platinum mount with pierced gallery, ring size K½. £600-£800 --- Condition Report General light surface wear to the mount and settings commensurate with age and use. The shank is thin and has a sizing seam that may split open under pressure. The aquamarine is a pale blue hue with good and even saturation and excellent transparency, with some minor abrasion to the facet edges. Gross weight 6.9gm.
An Arts and Crafts gem-set brooch attributed to Dorrie Nossiter, circa 1930, the step-cut citrine in a cluster surround of circular-cut aquamarines and citrines, with half-pearl highlights, mounted in silver and gold, (pearls untested), length 42mm. £200-£300 --- Condition Report Gemstones bright and lively with very good transparency. Some slight windowing to principal citrine. One aquamarine with an internal reflective fissure. Clip fitting with good tension. Some light scuffs evident under 10x magnification. Overall good condition. Gross weight 19.5gm.
A pair of silver ear studs by Georg Jensen, design No. 67, each realistically modelled as a flowerhead, signed, numbered ‘67’, stamped ‘STERLING’ and ‘DENMARK’, (marks rubbed), diameter 16mm. £80-£120 --- Condition Report Light surface wear to fronts. Reverses extensively rubbed and marks barely legible. Otherwise typical surface wear. Gross weight 6.2gm.
An emerald and diamond ring, the tapered band channel-set with a series of brilliant-cut diamonds and centred with an emerald cabochon, stamped ‘750’, total diamond weight approximately 0.65 carat, ring size Q½. £400-£600 --- Condition Report General surface wear to the mount and settings commensurate with use. The emerald is a light green hue with inclusions typical to the nature of the stone. The diamonds bright and lively. Gross weight 6.8gm.
A diamond five stone ring, set with a row of graduated brilliant-cut diamonds, mounted in 18ct gold, UK hallmark, total diamond weight approximately 1.00 carat, ring size P. £400-£600 --- Condition Report Diamonds bright and lively. Graded in settings as approximately H-J colour, SI2/I1 clarity. Stamped ‘1ct’ indicating carat weight. Light wear to shank. Overall good condition. Gross weight 4.1gm
A collection of rings, to include an 18ct gold signet ring with shield-shaped bezel and engraved initials ‘D H G’, two 9ct gold and onyx set rings, an 18ct gold tapered band ring with engraved floral decoration, two 9ct gold hematite intaglio rings, each carved to depict the profile of a Roman centurion, together with a crossover band ring with crosshatch decoration, stamped ‘14K’, UK and Swedish assay marks, various sizes. £500-£700 --- Condition Report General light surface ear commensuarte with ge and use. The band stamped 14K with inner inscription ‘B to R. LOVE IS ETERNAL 7.14.61’ Viewing is advised on group lots. Gross weight 33.3gm.
An enamel locket, circa 1900, the circular matte black enamel pendant with white enamel rings to both sides, the front applied with a pierced plaque set with rose-cut diamonds, opening to reveal a glazed interior, mounted in gold, length including bale 30mm. £150-£200 --- Condition Report Light scratches and scuffs. Interior - one glass deficient, the other with crack. Otherwise good condition. Gross weight 8.5gm.
A pair of early 20th century French enamel and diamond set dress studs, set throughout with rose-cut diamonds, the circular-shaped panels of lattice design and with red guilloché enamel grounds, mounted in platinum and gold, French assay marks, maker’s case, diameter 12mm. £400-£600 --- Condition Report General light surface wear commensurate with age and use. Gross weight 6.7gm.
An opal and diamond stickpin, circa 1900, the tapered polished opal bead in a shaped cup setting above an old brilliant-cut diamond, mounted in silver and gold, case signed ‘James Aitchison’, terminal length 17mm. £160-£200 --- Condition Report The piece has probably been converted, the terminal previously forming a pendant drop, with the stickpin fitting later added. The opal has a good play of colour and light wear only. Diamond weight approximately 0.09 carats. Case is in reasonable condition with just a few scuffs to the exterior.
A pair of early 20th century gold and turquoise ear pendants, the turquoise cabochon surmounts suspending a gold bar and seed pearl drop terminating in an oval-shaped turquoise cabochon, stamped ‘9CT’, length 30mm. £80-£100 --- Condition Report General light surface wear commensurate with age and use. The oval cabochon drops with a moderate amount of veins of dark brown matrix, the bottom of one of the cabochons protruding from the settings slightly, and may need to be reset to be worn with complete confidence. Screw back fittings. Gross weight 2.2gm.
An enamel and diamond dress ring, the tapered band collet-set to the front with five brilliant-cut diamonds, to a blue enamel ground and with applied fleur-de-lys motif decoration, the whole within a ropetwist border, signed ‘SCHWARTZ’, stamped ‘18CT’, total diamond weight approximately 0.60 carat, ring size M. £600-£800 --- Condition Report General light surface wear commensurate with use. Gross weight 16.5gm.
A pair of 18ct gold amethyst and cultured pearl earrings by Alison Bradley, the square-shaped amethyst surmounts suspending a cultured pearl drop, maker’s mark ‘AAB’, London hallmark, length 33mm. £200-£300 --- Condition Report General light surface wear commensuarte with use. The amethysts are a light purple hue well matched. The pearls with pink overtones and good lustre. Gross weight 8.4gm.
A cultured pearl and diamond ring and earring suite, of flowerhead design, set with a cultured pearl within a pierced petal surround set throughout with single-cut diamonds, the earrings en suite, total diamond weight approximately 1.60 carats, ring size K½ - L. £600-£800 --- Condition Report General light surface wear commensurate with use. The diamonds bright and lively. The pearls with good lustre, and measuring between 8mm and 9.5mm. Metal unmarked and untested. Sizing seam to shank. Gross weight 27.3gm.
An 18ct gold opal doublet dress ring, 1972, of abstract flowerhead design, each of the textured petals set with an opal doublet, UK hallmark, ring size L. £400-£600 --- Condition Report General light surface wear to the mount commensurate with age and use. A number of the petals with damage and loss to the edges of the slices of opal doublet. Viewing advised. Gross weight 10.4gm.
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