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534325 Los(e)/Seite
Los 286
Pair of Wedgwood lustre vases, decorated with dragons on a mottled blue ground designed by Daisy Makeig-Jones, (2) 31.5cm high Condition report: No damage or restoration to either vase, there are patches of light crazing. The gilding is generally in good order with only very minor wear to the rims.
Los 106
An 18ct gold, glass-filled ruby and diamond dress ring, the large oval mixed cut ruby, estimated weight 15.37cts, claw set above shoulders with shield shaped inset plaques pavé set with round brilliant diamonds to a broad tapered two tier band, size N, of hallmarked 18ct gold, Birmingham 2006 The ruby is quite a light red, edging towards pink with orange hints more dominant than blue; it measures 17.78 x 13.17 x 7.81mm. The crown has various small nibbles and abrasions and a scratch down a facet edge; and some of the fine fractures are surface-rising. There are no notable areas of `windowing`, but numerous fine inclusions, veils and feathers with areas that catch the light like platelets - assumed to be micron sized gaps; small colour flashes can be observed with the right light and angles; there is one distinct hexagon of fine silk, the lines straight, the angles crisp. The ruby fluoresces under UV light - very faintly in SW and strongly red in LW. The setting is solid and sound, just light wear and tear appropriate to age.
Los 163
A sapphire and diamond cluster ring, the light navy blue emerald-cut sapphire four claw set above a pierced cushion shaped border of round brilliant cut diamonds, to a deep linear undercut gallery and shoulders all set with similar lines of diamonds, in white precious metal stamped `14k`, size M
Los 170
An early 20th century sapphire and diamond brooch, of oval outline, with a large cushion cut light lavender blue sapphire, estimated weight 9.67cts, in a close border of round and old round brilliant cut diamonds then a broader pierced peacock tail border set with similar cut and cushion cut diamonds, all in millegrain collets of white on yellow unmarked precious metal, clasp with safety catch; length 2.8cm, estimated total weight of diamonds 1.80cts
Los 198
A late 19th century emerald, diamond and pearl brooch, claw set to the centre with a bright light green rectangular cut corner emerald in a delicaate open scrolling surround set with old round, cushion and rose cut diamonds, beneath a similarly diamond set multi-loop bow with a 4mm off-round pearl (not tested, possibly natural) for its knot; in white on yellow precious metal, assumed silver on gold; detachable safety chain; 2.9mm x 2.9mm; in a period leather fitted case
Los 42
An old cut diamond hoop brooch, the knife edge 2.4cm diameter circlet claw set regularly with five graduated old rectangular cushion cut diamonds, in unmarked white on yellow precious metal, clasp with safety catch, in period case; total estimated weight of diamonds approximately 1.50cts The setting is in good condition with just light wear and tear appropriate to age; there is some freeplay on the pin, but the clasp and safety catch are in good working order; the claws are all sound and the diamonds secure. The diamonds are variable in colour - J-L; also in clarity - one is P3 with eye-visible black inclusions, the others VVS - SI; all have some fine facet edge abrasion; the old cuts are charmingly random and erratically proportioned. As brooches are normally worn on or near the chest, any anomalies are unlikely to be apparent to an observer who probably won`t get that close.
Los 458
Manner of Jean Marc Nattier Portrait of Portrait of Comtesse Tassin oil on canvas, oval, unframed 70 x 55cm (27 x 21in) Maria Leszczynska, was a queen consort of France. She was a daughter of King Stanislaw Leszczynski of Poland (later Duke of Lorraine) and Catherine Opalinska. She married King Louis XV of France and was the grandmother of Louis XVI, Louis XVIII, and Charles X Lined canvas. Scratches and small dent in canvas at upper and lower edges which have been filled and retouched. A few light scratches and areas of abrasion. Drying cracks in darker paint passages. Localised areas of retouching. Thick, discoloured varnish layer. Indentations of bubble wrap present at left side. Unframed. 19th Century.
Los 60
Two bold Victorian brooches, the first with a large oval cut light gold citrine in a pierced, tiered yellow precious metal mount of textured leaves and twining stems, verso with glazed panel of plaited mid brown hair, width 4.9cm; the second with a vacant oval glazed panel, in an ornate scrolling mount with black enamel infill, closed back setting, width 5.8cm (2)
Los 286
Pair of Wedgwood lustre vases, decorated with dragons on a mottled blue ground designed by Daisy Makeig-Jones, (2) 31.5cm high Condition report: No damage or restoration to either vase, there are patches of light crazing. The gilding is generally in good order with only very minor wear to the rims.
Los 127
* SAMOKHVALOV, ALEXANDER (1894-1971) Fireworks. Vasilievsky Island . Oil on canvas, 95.5 by 70.5 cm. Executed in the 1950s. Provenance: Collection of the artist?s family. Private collection, Europe. Authenticity of the work has been confirmed by Maria Samokhvalova, the artist?s daughter. Authenticity has also been confirmed by the expert Yu. Rybakova. Fireworks. Vasilievsky Island was painted in 1944 on Alexander Samokhvalov?s return to Leningrad after his evacuation, at a time when the artist had enthusiastically embarked upon depictions of the city he loved. Apart from his canvasses, which are permeated with the pathos of victory and the urgent construction effort ? Leningrad Rises Again, Warriors Remember, Friends Meeting, ? the portrait he creates of the hero-city of his birth is a romantic one. The artist?s Leningrad of the 1940s and early 1950s is almost always eventful. He is interested not just in sketching views, but in the very pulse of life in the city. Sometimes he addresses the theme of Soviet public holidays ? Morning on 1st May, In the Park, ? but in his most inspired and lyrical work he prefers the everyday reality of his beloved Vasilievsky Island. Here, after all, on a side street called Tuchkov pereulok, was the studio that Samokhvalov had inherited after the death of the famous graphic artist Pavel Shellingovsky. Samokhvalov always took pride in this succession, feeling that the genius loci srought him close to one of the masters he most respected and held most dear. Fireworks. Vasilievsky Island is one of the canvasses he painted in the neighbourhood of his studio. There are several known compositions in the legacy left by Samokhvalov that have the title On Bolshoi Prospekt, Vasilievsky Island and in all probability Fireworks is a continuation of this subject. Samokhvalov uses a great many different gradations of hue, leading into one another and finding their place in the massive lilac and blue-grey buildings and chimneys of the thermal power plant, the glare in the sky and its blueness, the muted painting of the human figures, the red roof of the house and the broad, grey-brown expanse of the paved ground. All the objects and details of the urban scene ? the houses, tram lines, motor vehicle, street lamps and even passers by ? are, as it were, shrouded and seen through the haze of a special light that envelops them. This light that suffuses the picture lends a unity to all the colours within it. Samokhvalov?s close associate at the studio, Yuri Pimenov was right when he said: ?Samokhvalov was one of the best artists of that time ? his pictures had the rhythm of contemporary life??
Los 329
A PORCELAIN CUP AND SAUCER FROM THE GOTHIC SERVICE RUSSIAN, IMPERIAL PORCELAIN MANUFACTORY, PERIODS OF ALEXANDER III (1881?1894) AND NICHOLAS II (1896?1917), DATED 1890 AND 1897 Height of the cup 7 cm, diameter of the saucer 14 cm. Provenance: Acquired by the grandfather of the current ownerin the late 1920s?1930s. Thence by descent. The cavetto of the saucer decorated with a stylised flower, theborders with multicoloured rossettes and stylised foliate motifson light blue background, the cup painted with matching pattern,partially gilt interior and handle, with green ciphers for Alexander IIIon the cup and Nicholas II on the saucer, dated 1890 and 1897.
Los 34
* SEMIRADSKY, GENRIKH (1843-1902) The Idyll , signed. Oil on canvas, 66 by 114.5 cm. Executed in the late 1880s?early 1890s. Provenance: Collection of Wojciech and Ewa Fibak, New York. Collection of Michael Legutko of the Lippert Gallery, New York. Collection of Barbara Piasecka Johnson, New Jersey. Art for Autism at Jasna Polana, Christie?s/TPC, Princeton, New Jersey, 22 September 2000, lot 16. Acquired at the above sale by the previous owner. Authenticity certificate from the expert T. Goryacheva. Related literature: For another version of the present lot, see S. Lewandowski, Henryk Siemiradzki, Warsaw-Krakow, Nak?. i w?asno?? Gebethnera i Wolffa, 1904, p. 100, illustrated. T. Karpova, Genrikh Semiradsky, St Petersburg, Zolotoi vek, 2008, p. 142, illustrated. Genrikh Semiradsky?s work The Idyll offered here for auction was painted in the late 1880s?early 1890s. This period can be considered as the peak of the famous artist?s creative life. The precision of the compositional arrangement, the exquisite palette and the focus on conveying the air and light are the features of the artist?s painting. His works, depicting scenes from the antiquity, become more intimate and romantic, characterised by a more humane, idyllic rendering of their protagonists. During this period, the master created his well-known masterpieces By the Spring (late 1880s), Christ and Samaritan Woman (1890), Talisman (early 1890s), and Roman Woman (early 1890s). The present lot is an eponymous version of the painting, executed by Semiradsky in 1895. The artist frequently repeated his most successful compositions, which the public loved. As a rule, he modified the composition and changed the landscape. New elements enriched familiar works, lending value to the author?s replications. The Idyll offered here for the auction contains some important differences in the way the artist treats the landscape in the background and in some secondary elements, such as the marble relief and the mosaic decorating the swimming pool. Some decorative patterns on the protagonists? robes have also been slightly modified, as well as the arrangement of the flowers on the foreground. The work exhibits all characteristic traits of Semiradsky?s style, based primarily on the conveying of the interplay between the light and the shadow. Bright sunbeams enliven the whole composition, emphasising the vitality of the luscious Southern nature, the heat of the summer midday, and the coolness of the pool. A Roman family by the spring, framed by the marble border, are enjoying their leisure. The parents are engaged in an unhurried conversation with their little son. This idyllic family scene is very typical for salon art of the last quarter of the 19th century, which largely rejected realistic interpretations of historical events and mundane dramatic conflicts so beloved by the Itinerants. Pursuit of beauty, bliss and romantic love are the main components of the Russian and European genre painting of the 1880s and 1890s. Particular focus on the ?draughtsmanship? of the art ensured the unrivalled mastery of salon artists, securing them a wide recognition and presence in the largest museums and private collections. The Idyll, as one of Semiradsky?s masterpieces, is worthy of a place in a most distinguished collection.
Los 37
* AIVAZOVSKY, IVAN (1817-1900) Moonlight over the Dnieper , signed and dated 1858. Oil on canvas, 64 by 107 cm. Provenance: Important private collection, Europe. Authenticity of the work has been confirmed by the expert V. Petrov.The present lot has been examined by Gianni Caffiero and Ivan Samarine and has been included in their catalogue raisonné of the artist?s work. Depictions of night sea- and riverscapes formed a significant part of the famous Russian artist Ivan Aivazovsky?s oeuvre and are universally admired. Moonlight over the Dnieper, presented here for auction, is among the most typical and important works of this series. Aivazovsky?s whole life is inexorably connected with the sea. While he was the official painter of the Naval Headquarters, he even managed to participate in military operations, acquiring the most valuable first-hand experience for rendering his incomparable sea battles and shipwrecks. For him, the sea acquired a more profound, all-encompassing meaning: it was the crucible of nature, and all Aivazovsky?s works are homage to this mighty and formidable element, which he worshipped and the sheer vigour of which he rapturously immortalised on his canvasses. Aivazovsky?s nocturnal sea- and riverscapes are outstanding: he had no equals in conveying the splendour of water in its calm, peaceful guise, simultaneously emphasising its romantic beauty and power, temporary concealed underneath the dark, dimly lit by the mysterious moon light surface. Moonlight over the Dnieper is one of the best examples of the artist?s mastery in rendering a calm southern night enveloping his beloved mighty river. Aivazovsky masterfully conveys the effects of moonlight, shimmering through on the clouds and running like a path of light on the water. The work is executed without dramatic, contrasting colour effects and its colour scheme is based on delicate gradations of restrained dark blue and ochre. Alongside motifs, which are familiar from the artist?s other landscapes ? such as calm water surface with a boat on the horizon, a windmill, silhouettes of huts on the remote riverbank just visible in the distance, ? Moonlight over the Dnieper also contains a genre element: a peaceful scene with two fishermen, watching a boat setting off. Paintings of this type, which seamlessly integrate Aivazovsky?s knowledge of nature and Romantic idealisation, are typical of his oeuvre of the mid-19th century. Aivazovsky had immortalised this great river on numerous occasions throughout his life, always including elements of Ukrainian landscape and genre scenes. However in his paintings of this beloved view there is never exact repetition. Varying the basic composition and effects of light, Aivazovsky makes the viewer experience each one of them as a new and unique work of art. The present work is one of the best examples of Aivazovsky?s masterly painting skill at the heyday of his artistic life and undoubtedly is of museum quality.
Los 34
* SEMIRADSKY, GENRIKH (1843-1902) The Idyll , signed. Oil on canvas, 66 by 114.5 cm. Executed in the late 1880s–early 1890s. Provenance: Collection of Wojciech and Ewa Fibak, New York. Collection of Michael Legutko of the Lippert Gallery, New York. Collection of Barbara Piasecka Johnson, New Jersey. Art for Autism at Jasna Polana, Christie’s/TPC, Princeton, New Jersey, 22 September 2000, lot 16. Acquired at the above sale by the previous owner. Authenticity certificate from the expert T. Goryacheva. Related literature: For another version of the present lot, see S. Lewandowski, Henryk Siemiradzki, Warsaw-Krakow, Nak?. i w?asno?? Gebethnera i Wolffa, 1904, p. 100, illustrated. T. Karpova, Genrikh Semiradsky, St Petersburg, Zolotoi vek, 2008, p. 142, illustrated. Genrikh Semiradsky’s work The Idyll offered here for auction was painted in the late 1880s–early 1890s. This period can be considered as the peak of the famous artist’s creative life. The precision of the compositional arrangement, the exquisite palette and the focus on conveying the air and light are the features of the artist’s painting. His works, depicting scenes from the antiquity, become more intimate and romantic, characterised by a more humane, idyllic rendering of their protagonists. During this period, the master created his well-known masterpieces By the Spring (late 1880s), Christ and Samaritan Woman (1890), Talisman (early 1890s), and Roman Woman (early 1890s). The present lot is an eponymous version of the painting, executed by Semiradsky in 1895. The artist frequently repeated his most successful compositions, which the public loved. As a rule, he modified the composition and changed the landscape. New elements enriched familiar works, lending value to the author’s replications. The Idyll offered here for the auction contains some important differences in the way the artist treats the landscape in the background and in some secondary elements, such as the marble relief and the mosaic decorating the swimming pool. Some decorative patterns on the protagonists’ robes have also been slightly modified, as well as the arrangement of the flowers on the foreground. The work exhibits all characteristic traits of Semiradsky’s style, based primarily on the conveying of the interplay between the light and the shadow. Bright sunbeams enliven the whole composition, emphasising the vitality of the luscious Southern nature, the heat of the summer midday, and the coolness of the pool. A Roman family by the spring, framed by the marble border, are enjoying their leisure. The parents are engaged in an unhurried conversation with their little son. This idyllic family scene is very typical for salon art of the last quarter of the 19th century, which largely rejected realistic interpretations of historical events and mundane dramatic conflicts so beloved by the Itinerants. Pursuit of beauty, bliss and romantic love are the main components of the Russian and European genre painting of the 1880s and 1890s. Particular focus on the “draughtsmanship” of the art ensured the unrivalled mastery of salon artists, securing them a wide recognition and presence in the largest museums and private collections. The Idyll, as one of Semiradsky’s masterpieces, is worthy of a place in a most distinguished collection.
Los 37
* AIVAZOVSKY, IVAN (1817-1900) Moonlight over the Dnieper , signed and dated 1858. Oil on canvas, 64 by 107 cm. Provenance: Important private collection, Europe. Authenticity of the work has been confirmed by the expert V. Petrov.The present lot has been examined by Gianni Caffiero and Ivan Samarine and has been included in their catalogue raisonné of the artistÂ’s work. Depictions of night sea- and riverscapes formed a significant part of the famous Russian artist Ivan AivazovskyÂ’s oeuvre and are universally admired. Moonlight over the Dnieper, presented here for auction, is among the most typical and important works of this series. AivazovskyÂ’s whole life is inexorably connected with the sea. While he was the official painter of the Naval Headquarters, he even managed to participate in military operations, acquiring the most valuable first-hand experience for rendering his incomparable sea battles and shipwrecks. For him, the sea acquired a more profound, all-encompassing meaning: it was the crucible of nature, and all AivazovskyÂ’s works are homage to this mighty and formidable element, which he worshipped and the sheer vigour of which he rapturously immortalised on his canvasses. AivazovskyÂ’s nocturnal sea- and riverscapes are outstanding: he had no equals in conveying the splendour of water in its calm, peaceful guise, simultaneously emphasising its romantic beauty and power, temporary concealed underneath the dark, dimly lit by the mysterious moon light surface. Moonlight over the Dnieper is one of the best examples of the artistÂ’s mastery in rendering a calm southern night enveloping his beloved mighty river. Aivazovsky masterfully conveys the effects of moonlight, shimmering through on the clouds and running like a path of light on the water. The work is executed without dramatic, contrasting colour effects and its colour scheme is based on delicate gradations of restrained dark blue and ochre. Alongside motifs, which are familiar from the artistÂ’s other landscapes – such as calm water surface with a boat on the horizon, a windmill, silhouettes of huts on the remote riverbank just visible in the distance, – Moonlight over the Dnieper also contains a genre element: a peaceful scene with two fishermen, watching a boat setting off. Paintings of this type, which seamlessly integrate AivazovskyÂ’s knowledge of nature and Romantic idealisation, are typical of his oeuvre of the mid-19th century. Aivazovsky had immortalised this great river on numerous occasions throughout his life, always including elements of Ukrainian landscape and genre scenes. However in his paintings of this beloved view there is never exact repetition. Varying the basic composition and effects of light, Aivazovsky makes the viewer experience each one of them as a new and unique work of art. The present work is one of the best examples of AivazovskyÂ’s masterly painting skill at the heyday of his artistic life and undoubtedly is of museum quality.
Los 127
* SAMOKHVALOV, ALEXANDER (1894-1971) Fireworks. Vasilievsky Island . Oil on canvas, 95.5 by 70.5 cm. Executed in the 1950s. Provenance: Collection of the artist’s family. Private collection, Europe. Authenticity of the work has been confirmed by Maria Samokhvalova, the artist’s daughter. Authenticity has also been confirmed by the expert Yu. Rybakova. Fireworks. Vasilievsky Island was painted in 1944 on Alexander Samokhvalov’s return to Leningrad after his evacuation, at a time when the artist had enthusiastically embarked upon depictions of the city he loved. Apart from his canvasses, which are permeated with the pathos of victory and the urgent construction effort – Leningrad Rises Again, Warriors Remember, Friends Meeting, – the portrait he creates of the hero-city of his birth is a romantic one. The artist’s Leningrad of the 1940s and early 1950s is almost always eventful. He is interested not just in sketching views, but in the very pulse of life in the city. Sometimes he addresses the theme of Soviet public holidays – Morning on 1st May, In the Park, – but in his most inspired and lyrical work he prefers the everyday reality of his beloved Vasilievsky Island. Here, after all, on a side street called Tuchkov pereulok, was the studio that Samokhvalov had inherited after the death of the famous graphic artist Pavel Shellingovsky. Samokhvalov always took pride in this succession, feeling that the genius loci srought him close to one of the masters he most respected and held most dear. Fireworks. Vasilievsky Island is one of the canvasses he painted in the neighbourhood of his studio. There are several known compositions in the legacy left by Samokhvalov that have the title On Bolshoi Prospekt, Vasilievsky Island and in all probability Fireworks is a continuation of this subject. Samokhvalov uses a great many different gradations of hue, leading into one another and finding their place in the massive lilac and blue-grey buildings and chimneys of the thermal power plant, the glare in the sky and its blueness, the muted painting of the human figures, the red roof of the house and the broad, grey-brown expanse of the paved ground. All the objects and details of the urban scene – the houses, tram lines, motor vehicle, street lamps and even passers by – are, as it were, shrouded and seen through the haze of a special light that envelops them. This light that suffuses the picture lends a unity to all the colours within it. Samokhvalov’s close associate at the studio, Yuri Pimenov was right when he said: “Samokhvalov was one of the best artists of that time – his pictures had the rhythm of contemporary life…”
Los 329
A PORCELAIN CUP AND SAUCER FROM THE GOTHIC SERVICE RUSSIAN, IMPERIAL PORCELAIN MANUFACTORY, PERIODS OF ALEXANDER III (1881–1894) AND NICHOLAS II (1896–1917), DATED 1890 AND 1897 Height of the cup 7 cm, diameter of the saucer 14 cm. Provenance: Acquired by the grandfather of the current ownerin the late 1920s–1930s. Thence by descent. The cavetto of the saucer decorated with a stylised flower, theborders with multicoloured rossettes and stylised foliate motifson light blue background, the cup painted with matching pattern,partially gilt interior and handle, with green ciphers for Alexander IIIon the cup and Nicholas II on the saucer, dated 1890 and 1897.
Los 353
A DIAMOND RING with round brilliant cut diamond and diamond shoulders, in platinum, London 1981, size N++Very dirty, slight distortion to shank and light wear consist with age. The weight of the diamond assessed in situ and by reference to a pierced metal gauge and therefore very approx 1.8ct
Los 354
A JADEITE AND DIAMOND CLUSTER RING the oval cabochon of high polish surrounded by eighteen evenly sized round brilliant cut diamonds, in white gold marked 18ct, size Q++A most attractive ring, in good condition with slight signs of wear, the cabochon with a few light scratches visible under magnification
![FRANCIS JUKES (1745-1812) AFTER THOMAS WALMSLEY (1763-1806) [IRISH TOPOGRAPHICAL VIEWS] five, aquatints, c1800, mounted to i](http://lot-images.atgmedia.com/SR/10086/2899614/435-20141113102022_468x382.jpg)
Los 435
FRANCIS JUKES (1745-1812) AFTER THOMAS WALMSLEY (1763-1806) [IRISH TOPOGRAPHICAL VIEWS] five, aquatints, c1800, mounted to image, 27 x 40cm (5)++Uniformly framed in modern washline mount and narrow gilt frames with the locations noted on the backboard, some typical light fading, not unattractive. The view of the river Sheene near Kenmare with repaired corner tear upper right
Los 493
FRANCIS WHEATLEY, RA (1747-1801) RUSTICS AT A COTTAGE DOOR watercolour, 15.5 x 22cm Provenance: F R Meatyard, London from whom bought by George P Henzell Esq on 10 July 1940 for £8.0.0.; thence by descent to the present vendors.++A very attractive watercolour in reasonably good condition with light fading but many colours still well preserved
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534325 Los(e)/Seite