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Lot 1184
A George III cross banded and inlaid mahogany sideboard with bow from and of small proportions, 101cm by 56cm by 94cmTop badly split, splits to both sides, loss to beading on the top centre and right draw fronts, loss to the inlay on the right hand corner of the top, section of veneer lacking from the front near the right hand cupboard, inlay lacking from left leg, some overall superficial markings, with key, locks functioning
![[s and up] René Daniëls, De Kelder de Zolder (The Basement the Attic) Rotterdam, Bébert, 1987. Wooden box, 10 x 19 x 4 cm, wi](https://cdn.globalauctionplatform.com/22e31b51-3022-4a65-8d1e-aea0009b964b/1b723d58-fa11-4ad7-98ea-aea000d5cf30/468x382.jpg)
Lot 6256
[s and up] René Daniëls, De Kelder de Zolder (The Basement the Attic) Rotterdam, Bébert, 1987. Wooden box, 10 x 19 x 4 cm, with a screen printed drawing on the lid. Contains a white bow tie with hand painted elements in green and yellow, displayed on a bed of orange velvet. From an edition of 150 copies including 75 not for trade. All multiples are unique, the artist used various colours of paint and fabric. Superb work by the Dutch artist Daniëls (1950-), the bowtie is a recurring element in his oeuvre. Mint copy.
Lot 127
A lot consists of two pearl necklaces, one coral bead necklace and two pairs of pearl earrings; The pearl torsade has cream-coloured pearls, fastened with bow motif box clasp, French silver hallmark, measures 46.0 cm; Another pearl necklace with pink and yellow overtones, fastens with spherical clasp, Kuwaiti hallmarked '750', measures 50.5 cm; A four-strand pink coral bead necklace, box clasp marked 'sterling', measures 47.0 cm; A pair of spinning pearl and pink stone earrings; A pair of pink pearl ear studs.
Lot 14
A turquoise and seed pearl pendant on chain, comprises blue turquoise cabochons collet set in a foliate mount, with a bow motif surmount embellished with seed pearls, to a similarly fashioned bail, suspending on a cable link chain, fastened with tube clasp, yellow precious metal marked as '15ct', chain measuring 44.0 cm, pendant overall size 4.0 x 2.4 cm, total weight of item 12.7 grams.One split pearl deficient.
Lot 169
A lariat necklace in yellow precious metal, comprises a tubular mesh chain with tassel terminations, with a bow motif fold-over clasp, marked as '750 Swiss made', with French owl hallmarks '75' (indicates 18ct gold import goods), chain measuring 62.5 cm long, 4.2 mm thick, total weight of item 71.2 grams.
Lot 80
An 18ct gold Gilbey Jubilee collection ‘Imperial Brooch’ pendant, modelled after The Most Excellent Order of the British Empire, featuring the effigy of Britannia in the central, surrounded by twenty pavé set rubies, the cross patonce of the Order has a baguette sapphire and a marquise sapphire set on each arm, to a bow motif surmount with a diamond highlight, with a stylised bail, Edinburgh hallmarked '750' with sponsor's mark 'NG', dated 1984, in a presentation box, overall measuring 3.5 x 2.9 cm, total weight of item 5.8 grams.
Lot 71
A Chinese porcelain Famille-Verte 'Romance of the Three Kingdoms' Yen Yen vase, Kangxi period (1662-1722). The ovoid body rising from a spread foot to a tall neck and flaring rim. The painted enameled scene on the vase may be identified as an episode from the 'Romance of the Three Kingdoms' inspired by the novel authored by Luo Guanzhong (circa 1330-1400). On the lower ovoid body of the vase painted three warlord figures and eunuchs as well as military leaders include General Guan Yu galloping on horseback, wearing a green robe over his armour and holding a Green Dragon Crescent Blade or guandao, crossing a bridge. The figures are drawn within a continuous hilly scene, with the sea in the distance. The neck of the vase with three warlord figures and the five Tiger Generals including Lu Bu wearing his distinctive two-plumed helmet holding a bow and arrow. The body and neck of the vase is divided by bands of green key-frets from which rise upright overlapping lappets hiding war banners and weapons insinuating a large army. The vase H45cm, on hardwood base. Total height incl. base 51.5cm. The bottom cut with a hole to convert it to a table lamp. Some damage and repair to the rim. (2) Provenance: N. Cambalios collection sold to the present owner at Petrides Auction December 2021
Lot 3
Alfred Wallis (British, 1855-1942)Fishing Boat with Black Sky signed 'A. WALLIS' (upper right)oil and pencil on card18.4 x 46.7 cm. (7 1/4 x 18 3/8 in.)Footnotes:ProvenanceSven Berlin, from whom acquired by Elizabeth Leach (Bernard Leach's daughter-in-law), thence by family descent to the present ownerPrivate Collection, U.K.The present, and preceding two lots, were formerly in the collection of Sven Berlin before passing directly into the family of Bernard Leach. Both men were front and centre within the St Ives circle of creatives and their influence on contemporary and later artists, ceramicists and collectors cannot be overstated. Berlin was a dancer, painter and author, who published the first biography on Wallis, 'Primitive', in 1949. Leach, together with Shoji Hamada, founded the Leach Pottery in 1920 which remains, to this day, one of the most respected potteries in the world and is widely considered as the birthplace of British Studio pottery.At the end of the 1920s, a sudden interest in the work of Alfred Wallis coincided with a revival of arts and craft traditions and Wallis' paintings and Leach's pots shared an authenticity and immediacy that the young Herbert Read famously hailed as a vital 'truth to materials'. The importance of place and a focus on local traditions were common to both men, an aesthetic that was reassuringly familiar yet freshly expressed. The Leach pottery provided employment for significant names of the period, including Patrick Heron, and became a centre for social and professional exchange among the St Ives set but it was Sven Berlin, in particular, who formed a strong bond with the family.An opportunity arose for Berlin to work evenings at the Pottery to earn some extra money and before meeting the master, he met his son David who was living in Carbis Bay with his wife Elizabeth. They became close and would walk home together - 'in a very short time, the Leach Pottery became like a second home for Berlin' (David Wilkinson, The Alfred Wallis Factor. Conflict in Post-War St Ives Art, The Lutterworth Press, Cambridge, 2017, p.17) and he 'frequently spent the evenings in conference with Bernard and David Leach, sitting round the fireplace alongside their apprentices' (Op.Cit., p.46). Indeed, Berlin temporarily entrusted his beloved collection of Wallis paintings to Bernard's safekeeping when he went off to war and on Wallis' death in 1942, it was Bernard who made the tomb decoration for his grave - a series of glazed tiles depicting a tiny, lone figure entering a lighthouse. Elizabeth Leach, David's wife, acquired the present work (together with Lots 1 and 2) directly from Berlin for £1 each and they have remained in the Leach family until now.Wallis's time at sea was spent in sailing vessels, but during his lifetime he witnessed the last days of commercial sailing ships as they were replaced by steamships. Many of the paintings acquired from Wallis were given titles by the purchasers rather than by Wallis himself and the subject was often mistakenly identified. This may be the case in Fishing Boat with Black Sky as the vessel depicted is very similar to the steamships that appear in other paintings by him. Wallis perfectly captures the power and movement of the single steamship using directional brushwork and rich impasto to depict the icy blue sea she cuts through at pace. Steam from the rear funnel trails behind in her wake and white surf is churned up at the bow with the speed of her passage. A small lifeboat and seven crew members can be seen on deck, all bravely facing into the wind and set against a moody horizon.For further information on this lot please visit Bonhams.com
Lot 2
French school of ca. 1730."The nymph Callisto seduced by Jupiter in the form of Diana".Oil on canvas. Relined.Size: 82 x 83.5 cm; 106 x 106 cm (frame).The gestation of the rococo painting takes place in France during the period of the Regency of Philip of Orleans (1715-23), having its stellar period during the reign of Louis XV (1723-74). The style represented the "discovery of freedom", the main idea of the society of the time. It was a hedonistic style of painting, centred on formal beauty and pleasant subjects, reflecting contemporary high society. In contrast to the thematic and formal rigour of the Baroque, Rococo represented colour and sensuality. One of the favourite themes par excellence during this period was love, which became a society game in which the libertine acted as a virtuoso. The game is broken down into four figures: choice, seduction, fall and rupture, all developed at a very fast pace. In the case of this painting, the scene depicted corresponds to the second moment, that of seduction, which was by far the favourite one for painters. The scene depicts the deception of the god Jupiter by the nymph Callisto, an episode narrated by Ovid in the Metamorphoses (Book II). Callisto, a nymph of great beauty and a member of Diana's retinue, was seduced by Jupiter, who took on Diana's features. Pregnant, the nymph tried to hide her condition from the goddess, who, a virgin herself, forced her companions to remain celibate. Jupiter turned her lover into a bear to spare her from punishment but, discovering the deception, Diana shot her with arrows. On her death, Callisto was taken to heaven by Jupiter, who placed her among the constellations and named her Ursa Major. Thus, the composition shows the goddess Diana, goddess of the hunt, with the fourth moon on her head and a quiver on her back. Next to her, Cupid (carrying the bow and arrows) rests on an eagle.The elements indicated are those that help to identify the two figures. Diana, in ancient Roman mythology, was the virgin goddess of the hunt, associated with animals and wild lands (forests, jungles...) and, later, supplanting Luna as the goddess of the hunt (which is why her attributes include the crescent quarter). Callisto was sometimes described as a nymph, and classical mythology considered her to be the daughter of the Pelasgian king Lycaon, as well as part of the court of Artemis or Diana. Ovid ("The Metamorphoses") records one episode in particular that reflects the relationship between the two: it would show here the moment when the goddess discovers that her maiden has become pregnant by Zeus (Jupiter in Roman mythology), who had transformed himself into Diana to get closer to the nymph; or, perhaps, the very moment of the impersonation. This theme has been treated by masters such as Rubens, Dosso Dossi, Palma the Elder, Gaetano Gandolfi, Guglielmo della Porta, Titian (two versions), Boucher, Federico Cervelli, Nicolas René Jollain, etc.
Lot 162
WSPU INSIGNIASpeaker's ribbon, woven in purple, green and white with the word 'Speaker' and the letters 'NWSPU' encircled by a gilt metal laurel wreath, topped with a purple and green bow, original pin stamped with maker's mark [indistinct], red oval manufacturer's sticker 'Toye & Co. 57 Theobalds Rd, London' on cardboard label on reverse, some browning and marks; with a length of silk ribbon in the suffragette colours, several tiny pin holes, marked, 55mm. wide, c.1340mm. long, c.1908 and later (2)Footnotes:According to a letter of provenance accompanying the lot, this rare speaker's insignia had been in the possession of a Miss Rose of Wick in the Highlands of Scotland. It has not been possible to ascertain her identity beyond that but there are references in Votes for Women of a Miss Rose speaking in Glasgow and Edinburgh, so it is likely that the insignia did belong to her as a prominent speaker. Her name is also included in a list of twenty speakers who shared six platforms at a joint demonstration of suffrage and trade union movements at Alexandra Park, Manchester on Saturday 8 October 1910. The ribbon can be dated to a period of a few years after 1908, when the WSPU colours of green, white and purple were adopted, and during the time when the WSPU had split into the Women's Freedom League (WFL) under Charlotte Despard and the National Women's Social and Political Union (NWSPU) under the leadership of the Pankhursts and Pethick-Lawrences.The formation of the Women's Social and Political Union by Emmeline and Christabel Pankhurst in 1903 had galvanised the cause of suffragism in Scotland. Activists from both the more peaceful arm of the suffrage movement, the NUWSS, and the militant WSPU undertook campaign tours of the Highlands, addressing meetings in the smallest villages as well as larger towns such as Perth and Aberdeen (see Leneman, L., The Women's Suffrage Movement in the North of Scotland, article online). The town of Wick had been affiliated with the Edinburgh National Society for Women Suffrage since the tour of Jane Taylour and Agnes McLaren as far back as 1871. On 16 September 1910, Emmeline Pankhurst spoke to a capacity audience of over 800 at the Rifle Drill Hall at Wick, as part of an extensive Highland tour designed to 'to extend the influence of the movement and to clear up many misunderstandings...' (Votes for Women, 16 September 1910). The meeting was organised by Miss Bemner and the 23 September issue of Votes for Women carried a report of the meeting thus: 'The Territorial Hall was packed with curious and eager faces. Mrs Pankhurst had a splendid welcome, and spoke magnificently. The audience was fairly astounded. Questions came pouring up, and the audience was delighted with Mrs Pankhurst's answers'.For further information on this lot please visit Bonhams.com
Lot 193
Publuis Cloduis, Marcus Filuis (son of Marcus) silver Denarius, Roman Republic, approximately 42BC, Dianan Lucifera standing facing, head right with bow and quiver over shoulder, holding lighted torch in each hand, with Moneyer mark P Clodivs M F , the other side with head of Apollo, weight 3.3g, 19mm diameter, Location: CAB
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117845 item(s)/page