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Preisdatenbank abonnierenRonnie Copas (1936-2017) "Bad Hobbling Weather of St Michael's Mount", 1978 signed and dated (lower left) egg tempura on board 43.6 x 38.7cm. Provenance: Portal Gallery, London.Lot 321 – light surface wear/surface scratches bottom right side + top overall condition appears good frame, frame in good shape please see extra images online
John Piper (1903-1992) ''Bastle House, Doddington'', Northumberland, 1975 signed and dated (lower) gouache, pen and ink 58 x 39cm.Lot 362 – This work appears to be in good condition, no signs of damages etc. not stuck down, frame in good order some light surface wear/loss of gilt please see extra images online, measurements including the frame 77cm x 58.5cm
Auguste Blanchard after Sir Lawrence Alma Tadema Dedication to Bacchus engraving published c.1892 by L.H Lefevre signed in pencil by the artist and engraver (in the margin) 36 x 84cm.Lot 54 – Some small spots of foxing, in acid mounts, light marks to margin, otherwise okay, frame in good order (one small break). Measurements including frame 74 x 120cm please see extra images online
A pair of diamond hoop earringsEach pavé-set with round brilliant-cut diamonds, of various near colourless and light brown tints, length approximately 50mm, post fittings with security clasp, estimated total diamond weight approximately 8.00-10.00cts, diamonds have not been tested for natural colour or treatmentFor further information on this lot please visit Bonhams.com
An open face pocket watch, Victorianwith light cream enamelled dial, black Roman numerals and outer border of Arabic numerals, the case with off-set push-button to one side and engraved vacant cartouche, within a fastened garter, to the reverse, with key-wound movement, approximate diameter 52.70mm, stamped 18ct, British hallmarked, approximate gross weight 113.50 gramsFor further information on this lot please visit Bonhams.com
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a dark amethyst example, CUPID TAKING AN ARROW FROM A QUIVER, "Jamais de repos", (no.1405), 2cm wide; a dark orange example, CUPID GUIDING A SMALL SAIL, "Never despair", (no.399), 2cm wide; a light amethyst example of hexagonal section, SHIP, "Friend", (no.279), 1.5cm high; and three others Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF FOUR INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a large dark blue oval example, possibly depicting the Abduction of Helen, 5.5cm wide; a clear oval example, LION LOOKING IN A MIRROR, "toujours le meme", (no.1344), 2.5cm wide; a dark blue oval example depicting the psyche of Roma as a winged Nike, 'MARCHANT ROMA', 3.25cm high; and a light amethyst oval example depicting an ecstatic Bacchante, 2.5cm high Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a rectangule dark blue example, REPONSE, S'IL VOUS PLAIT, (no.1056), 1.7cm wide; a rectangular light red example depicting A PIG, "I will a Tail unfold", (no.348, variant), 1.5cm wide; an oval light blue example depicting the head of an eagle, 1.5cm wide; a rectangular dark amber coloured example, TRUTH, set into a gilt metal fob, 2cm high; a clear rectangular example, A GOOSE ON THE TOP OF BATTLEMENTS, "L'Ennemi arrive", (no.1293), 1.8cm high; a white paste profile relief of the head of a Roman, 2.3cm high; and an unengraved oval amber coloured 'gem' Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a large oval mid brown example depicting the head of a maiden, 3.1cm high; an oval light pink example with a dancing amorino holding a thyrsus, 1.9cm high; a clear oval example with three amorini in a sailing vessel, 1.3cm wide; a purple rectangular example, CUPID DRESSED AS A MONK, "L'Habit ne fait pas le Moine", (no.1403), 1.5cm high; and two miniature plaster examples, Cupid with a dog on a lead, 1.1cm high; and Cupid seated on a plinth, 0.7cm high Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a rectangular light blue example, TOUJOURS, "Always", (no.1073), 1.4cm wide; a rectangular green example, AN HOUR-GLASS, "Le tems passe, mais l'Amitie reste", (no.1141), 1.4cm high; an oval amethyst coloured example with the head of Hermes, 2.9cm high; a rectangular dark red example with a recumbent hound, 1.7cm wide; a blue oval example, PIGNUS, depicting a sow, 1.7cm wide; and an oval brown example depicting Venus and Cupid, 2.3cm high Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
ITALIAN STRIATED ALABASTER AND GILT BRONZE MOUNTED DISH LIGHT, early 20th century, suspended by four chains from a lanceolate leaf cast, knopped and waisted ceiling fitment, the dish exterior with four scallopshell mounts above foliate clasped husks, descending to an inverted stylised pineapple terminal, 62cm high overall, 60cm wide overall
PAIR OF CONTINENTAL GILT BRONZE AND PORCELAIN MOUNTED THREE LIGHT CANDELABRA IN ROCOCO REVIVAL TASTE, mid 19th century, the foliate cast sockets and drip pans rising on tendrilous stems from behind the seated figures of a young man and a maiden, on rocaille cast bases, 31.5cm high, 27cm wide
PAINTED AND PARCEL GILT WALNUT SINGLE LIGHT WALL APPLIQUE, IN EARLY 18TH CENTURY STYLE, second quarter 20th century, the backplate with a floral still life painted within a framed cartouche, the arched top applied with a relief carved wild boar in flight, the projecting electrical sconce below, 63cm high, 38cm wide
PAIR OF CONTINENTAL POLYCHROME PAINTED WROUGHT IRON THREE LIGHT WALL APPLIQUES, 20th century, the sockets with pressed metal floral drip pans on scrolling foliate arms, issuing from openwork backplates, each with twin fleurs-de-lys and scallopshell terminal, 58cm high, 50cm wide, 30cm protuberance
PAIR OF GILT BRONZE AND MARBLE MOUNTED FOUR LIGHT FIGURAL CANDELABRA, second half 19th century, in Empire style, each with two pairs of engine-milled sconces held out by a standing winged maiden, the cylindrical plinths with conforming mounts and engine-milled collars, on square bases with toupie feet, 51cm high x 24cm wide
GILT METAL AND CUT-GLASS HUNG EIGHT LIGHT CHANDELIER, Continental, probably French, early 20th century, in Empire style, the electrical fitments and sockets on drip-pans above scrolling branches, issuing around an openwork circlet, with pressed metal leaves rising above, with five further openwork circlets hung above and below the principal, hung overall with faceted glass pendants, bead swags and flowerheads, c.112cm high x c.61cm wide
GILT BRONZE SIX LIGHT CHANDELIER IN REGENCE STYLE, early 20th century, the electrical fitments in urn sockets on broad drip pans, on rectangular section scrolling foliate cast arms issuing horizontally from the knopped, waisted and foliate cast shaft, with hanging ring finial, 58cm high, 86cm wide
A Large Chinese Glazed Stoneware Storage Jar - 19th Century. With four wide vertical light impressions to the upper body, and coated in a thick dark brown / black glaze. Height 43cm.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.
the first in Edwardian style with an open scrolling figure set along the flaring lines with graduated seed pearls and small round brilliant cut diamonds, enclosing in the centre an oval cut light blue topaz, and suspending below a similar but pear cut topaz, the bud bale set with another pearl and a diamond, length 3.8cm; also an articulated pendant with a heart pavé set with round brilliant cut diamonds and a ring of six seed pearls, with similarly set bow surmount, and tapered bale, length 2.5cm (2)
the oval cut light blue spinel collet set in a plain mount, tapered bale, Birmingham hallmarks for 9ct gold 1968, length with bale 2.0cm, with a fine curb link chain, also 9ct gold, London 1992, length 40cm; together with a pair of screwback earrings, each fitting fronted by a creased heart motif suspending a pierced oval mount holding a collet set emerald cut aquamarine, unmarked yellow metal tests for 18ct gold with 14ct fittings, length 1.9cm (2)
the first a ruby two stone crossover ring, with round cut rubies claw set to coronet galleries, the shank forming a serpentine line between, unmarked white metal, size K-L; the second a trefoil of even sized round cut diamond, ruby and light blue sapphire, the stalk with a further small diamond, unmarked yellow metal, size I½; the third a line of five round cut sapphires with round brilliant cut diamond points in the interstices, hallmarked 18ct white gold, London 1975, size M½ (3)
of open double heart form with a central oval cabochon moonstone and a similar smaller one pendant beneath, the inner heart a partial wreath of leaves, and set with five light blue round cut sapphires, yellow metal stamped '9ct', suspended from a baby belcher link chain with barrel clasp also stamped '9ct'; length of pendant with suspensory loop 3.8cm, of chain 43cm, cased
the rectangular cushion cut sapphire of delicate light mauve-blue, claw set to a border of twelve spaced round brilliant cut diamonds, broad solid shoulders with incised lines tapering to the plain shank, size L, white metal stamped '750' and with distinctive maker's mark (not recognised); estimated weight of sapphire 4.64cts, total estimated weight of diamonds approximately 0.50 carat
the first designed as a pierced twisted wreath of flowering stems, alternating white and yellow gold, London hallmarks 1972, ring size R, 5.01g; the second ring set with an oval light pink coral in a collet and ropetwist mount, undercut scrolling gallery, plain polished shoulders and shank, size N, yellow metal stamped ‘K18’; the third a garnet flowerhead cluster with one large and ten small round cut garnets, plain tapered shank size O½, yellow metal stamped ‘9ct’. (3)
the cushion cut light orange-brown topaz in a gas pipe mount with border of seed pearls, closed back slightly concave setting, measuring 14.7 x 13.7mm, presumably originally a ring head, now on a wire bangle with bifurcated shoulders; together with a pair of flowerhead cluster earrings each with a round cut blue zircon in a border of 3mm pearls, screwback fittings, yellow metal stamped '9ct' (2)
the largest in a broken mount, estimated weight 1.18ct, estimated colour J/K, estimated clarity P (material chips and inclusions but close to girdle); the second weighing ±0.90cts, estimated colour I, estimated clarity P (areas of speck inclusions; naturals, chips on girdle); the third weighing ±1.00cts, of a light orangey brown colour, estimated clarity SI (cleavage chips on the girdle, fine facet edge abrasion) (3)
the first a hand-made trefoil with raised edging, incised veins and ropetwist detailing, claw set to the centre with an oval cut light blue-green sapphire, clasp with safety catch, suspensory loop and integral safety chain, London hallmarks 1985, width 3.8cm; the second designed as two wire loops meeting at a round cut blue zircon centre, London import hallmarks for 9ct gold, 1979, length 3.5cm (2)
the first an oval petal edged hoop of uniform round cut vivid light blue sapphires, length 2.2cm; the second an antique amethyst and seed pearl flower with serpentine stem set with three more seed pearls, applied to a safety pin mount, length 3.8cm; the third a Victorian paste brooch with an oval cut bright mid blue stone crimp collet set to an open undulating border of round cut white stones, all in closed back settings, length 2.7cm (3)
the pierced convex panel of rectangular cushion shape set with a central sunburst of pear and marquise cut orange sapphires, in a field of vari-cut red, green, pink, purplish, light blue and white hardstones, many of which may also be sapphires, to pierced shoulders and a tapered shank, size N, Birmingham hallmarks for 9ct gold, length of panel 2.8cm, cased
1990 Gibson Firebird V electric guitar, made in USA, ser. no. 9xxx0xx4; Finish: cardinal red, some light fading to top, tape residue requires cleaning from back, otherwise good; Fretboard: rosewood; Frets: good; Electrics: working; Hardware: good; Case: original hard case; Overall condition: good
1980 Daion '80 12 & 6 double neck acoustic guitar, made in Japan, ser. no. 1xxxx2; Finish: walnut, light surface imperfection; Fretboard: rosewood; Frets: generally good; Electrics: working; Hardware: generally good; Other: bridges appear to have previously had some work, minor gap to the back end of each bridge but not considered a problem; Case: original hard case; Overall condition: good
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