We found 110041 price guide item(s) matching your search

VICTORIAN GOLD £5 COIN, 1887, Jubilee bust, 40.3gmsProvenance: private collection Pembrokeshire by family descent, consigned via our Carmarthen Office

ASSORTED CHINESE ORNAMENTS, including soapstone peach branch vase, two stone figures of Budai, hardstone archaistic cylindrical vessel, cloisonne bowl, small blue and white porcelain vase, celadon porcelain buffalo etc., together with a carved ebony bust, etc. (10)Provenance: contents of Machen House, Lower Machen in the County Borough of Caerphilly

A painted bust of a child's head mounted on a plinth, overall height 36cm

A Lladro bust of clown marked to base Daisa 1981 N-30 E - height 30cm

A 19th Century yellow metal and coral set brooch with central coral bust depicting Napoleon, 8.6 grams, 4cms long

Shell cameo 9ct yellow gold brooch, the oval cameo depicting a veiled female bust, rubover set, rope twist surround, openwork scroll border surround, dimensions approx 4.5cm x 4cm

Shell cameo 9ct yellow gold pendant brooch, the circular cameo depicting female bust, rubover set, rope twist surround, plain polished border, diameter approx 33mm, pendant and brooch fittings

A SECOND WORLD WAR BRITISH WOMEN'S LAND ARMY GREATCOAT by Steinberg & Sons Ltd, dated 1942, of brown wool, size no.8 (height 5'3' to 5'4', bust 38' to 40'), labelled to inner left lining.

A late 19th century bronzed plaster bust of Guido Gezelle, height 35cm.

Bust of a charioteer - modelled in terracotta with a Verdigris finish, raised on a beech plinth, height 27cm.

(Tätig im 18. Jh.)PuttenkopfTerrakotta. Vollplastische Darstellung eines Puttenkopfes, Körper fehlt. H. 17 cm.Terracotta bust of a putto. Body is missing.

Dunkelgrüner und braun-weißer Marmor sowie Silber. Quadratische Plinthe, übergehend in kurzen, konischen Balusterschaft. Darüber, auf einem mehrfach gegliederten und von Godronen umzogenen Rundsockel, eine montierte, vollplastische Silberbüste des bekannten englischen Dramatikers, Lyrikers und Schauspielers, dargestellt mit breiter Halskrause und um die angedeuteten Schultern gelegtem Mantel. H. 16 cm.A German silver miniature bust of William Shakespeare (1564 - 1616) on a marble base.Deutsch. Um 1900.

"Praying Virgin Mary". Polychromed wooden relief. Granada School. First quarter of the 18th century. Measurements: 72 x 57 cm. This is a truly exceptional piece and not only because of the very high quality of its carving and polychrome, but also because of the rarity of seeing a bas-relief from the Spanish school in which the praying Virgin Mary is portrayed. It is probable that originally this relief, which is likely to owe its composition to the imitation of a painting or engraving –disciplines in which it is more common to depict the Virgin Mary in this guise– was conceived of as a pendant together with another relief that showed Christ. This is, however, only a supposition based on other known specimens of this typology, which are, moreover, very rare. The relief is carved in a bas-relief style reminiscent of the Italian technique of schiacciato or flattened relief according to which the illusion of depth and corporeality is achieved through minimal variation. This fact, together with the delicacy of the carving, denotes a very skilled sculptor. The Virgin Mary occupies most of the panel and appears on a completely gold background, a colour that alludes to divinity. She has been conceived as a bust extended to the waist, approximately. The composition is triangular due to the lines drawn by the edge of the cloak that is thrown over her head and which is polychromed with lavish and dense multicoloured plant decoration executed with a brush on the outside and with a bluish color with silver touches on the inside. Underneath, she wears a white garment, of which the ends of the sleeves can be seen, and a red tunic with a round neck and accordion folds. The folds of the cloak are soft, with little projection and a rounded profile, in such a way that they contribute to the compositional balance of the relief. The hands, arranged in prayer, are very elegant and have very elongated fingers with delicately joined fingertips. The right hand is particularly well resolved, in which the torsion of the wrist has been skilfully carved. The face, with a highly polished surface, has symmetrical features and a hairstyle reminiscent of the classical style. The sculptor has managed to individualize the locks that make up the hair with light touches of the gouge. Due to the grace and delicate beauty of her face, with small facial features (curved eyebrows, half-open eyes with heavy eyelids, a sharp nose and small, full lips), details that seem to anticipate the Rococo, it is clear that this is an outstanding sculpture from the Granada workshops of the first quarter of the 18th century, in which José de Mora (1642-1724), José Risueño (1665-1732) and Pedro Duque Cornejo (1679-1757) were the most influential characters. They lived in Granada for varying amounts of time between 1713-1719. This Virgin Mary is definitely not by Mora, but it could well be the work of one of the last two. We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.

MOONSTONE CAMEO AND DIAMOND BROOCH, CIRCA 1910The oval moonstone cameo depicting a female bust in profile, the navette surround with pierced scroll work set throughout with old single and rose-cut diamonds in millegrain settings, above a long narrow tapering stem, the sides of the brooch pierced and carved with scroll motifs, length 11cmFor further information on this lot please visit Bonhams.com

WILHELM SCHMIDT: AN EXCEPTIONAL BOULDER OPAL, GEM-SET AND HARDSTONE BUST, CIRCA 1890Portraying Mars, the Roman god of War, in Ajax helmet surmounted by a vulture, sculpted from a single boulder opal, his bearded face and neck and the vulture's legs and bald head carved in dark brown ironstone matrix resembling deeply patinated bronze, the winged helmet and the vulture's plumage highlighted by utilising the thin layers of precious opal within the host rock, the opal with additional intricately engraved feather and scroll detail, the helmet and vulture's eyes inlaid with brilliant-cut diamonds, the vulture wearing a ropetwist collar, backed in engraved yellow gold. The torso clad in engraved fish-scale gold armour, the draped folds of the toga rendered in carved chalcedony, with rose-cut diamond fastening. Mounted on a silver circular collar with gold acanthus leaf scrollwork and set with three cabochon turquoises and a single cabochon emerald. The whole on a rectangular tapered, polished hardstone pedestal of exquisite purple and green colouration. Each face of the pedestal in-set with an oval cameo withing gold ropetwist frame; an idealised Roman goddess in sardonyx at the front, and three labradorite cameos to the sides and back variously depicting Minerva, Cleopatra and Isis, on a green hardstone base, signed W.Schmidt on reverse of toga, repair in chalcedony toga, three diamonds deficient, lengths: 31 cm total, the bust 14 cm, the plinth 14 cm, Footnotes:ProvenanceHerbert Maxwell Stuart (1842-1921) The date of purchase by Maxwell Stuart is unknown but the sale is mentioned in a typed transcript of a letter of reminiscences, written in 1926, by Wilhelm Schmidt to his friend and business associate Dr George Frederick Kunz of Tiffany, 'Bust of Mars, in opal matrix, size 5 inches, face and neck in brown matrix, Ajax helmet in opal of finest quality...Purchased by Mr Herbert Maxwell Stuart of Scarthingwell Hall, Tadcaster.' Schmidt continues, 'Mr Herbert Maxwell Stuart, the lineal descendant of the Stuarts and owner of their estates in Scotland and Yorkshire was a purchaser of many of my works. He was greatly interested in precious stones.'Maxwell Stuart amassed a large collection of unmounted specimen gems, including the largest facetted topaz, known as the Maxwell Stuart Topaz. Part of his collection was sold after his death at Christie's on 22 June 1921, including several opal cameos, unattributed in the catalogue but most likely carved by Schmidt. This bust was not part of the sale. It was purchased, unattributed, as a beautiful object of vertu by the family who currently own it. This highly important signed opal carving by the prodigiously gifted Victorian cameo engraver Wilhelm Schmidt (1845 – 1938) represents a uniquely important example of Schmidt's pioneering opal carving technique, the scale of ambition setting it apart from his other known works. Until recently, it was believed Schmidt never signed his work and this is the only fully signed piece so far traced, underscoring its exceptional importance. Wilhelm Schmidt was born in Idar Oberstein, the European centre of the mineral, gemstone and lapidary trades, where large deposits of carnelian and other agates, found during the 16th - 17th centuries, gave rise to an illustrious gem engraving industry. This instilled in Schmidt 'a great love of art in every expression' and despite being born with an eye defect, he conceived a passion for gem engraving from an early age. In 1860, at the age of fifteen, he was sent to Paris, as an apprentice in the lapidary studio of his cousin, Louis Purper. The head of the studio was the cameo-cutter, Arsène, whom the young Schmidt came to admire greatly and who trained him in the waning neo-classical tradition.Schmidt stood out as a remarkable talent, winning prizes for drawing and draughtsmanship, but by the time he graduated, the voracious thirst for cameos and intaglios by connoisseur collectors and students of antiquity was rapidly drying up. Schmidt's cousin closed his studio to pursue a more profitable career as a pearl dealer, whilst Wilhelm struggled on for several tough years trying to make ends meet as a gem engraver. He found work by cutting portrait cameos and an early commission was from an elderly American, Mr Fox, whom Schmidt described as 'practically the only important dealer in precious stones in New York', for onyx cameos of General Grant and Abraham Lincoln, heroes of the American Civil War.At the outbreak of the Franco-Prussian War, Schmidt was expelled from Paris and returned home in 1869. Much to his relief, he was not called up to fight against his adopted country, or Napoleon III, to whom he referred patriotically as 'mon Empereur'. He remembered in old age, 'I shall always gratefully remember France, as the country where I learnt and studied the art of precious stone engraving. Therein I found pleasure, happiness, and contentment throughout my long life.'In 1870, he emigrated for the second time, setting up in London an engraving business trading alongside his gem-importer brother Louis. London directories from 1870 list 'Schmidt and Nourick, importers of precious stones' at 59 Hatton Garden, and by 1872, the firm was styled 'Louis Schmidt', below whose name appeared 'Schmidt, W., Cameo Engraver'. In the same way he took his French identity to heart whilst living in Paris, Schmidt became thoroughly anglicised, calling himself William, speaking excellent English and proudly becoming a naturalised citizen in 1887.London, like Paris, had a rapidly dwindling pool of specialist patrons of the glyptic arts but Schmidt successfully navigated the macro-economics of the jewellery industry by adapting to new tastes and by pioneering innovative techniques. He carved and sold numerous cameos, for use in ornamental jewellery, to the best London jewellery firms working in the fashionable Archaeological Style, including John Brogden, Guiliano, Castellani, Child & Child and Edwin Streeter, as well as to leading jewellers in America such as Marcus and Tiffany. Although these carvings were unsigned and the retailers did not credit the engraver in their finished jewels, this and his portrait cameo business, afforded him enough money to live comfortably with his second wife, six daughters and one stepson.Schmidt's gemstone-dealing brother supplied him with a plentiful source of unusual and rare specimens with which he could work. His wide repertoire of materials included labradorite, malachite, tourmaline, crocidolite, moonstone, zircon, tourmaline, malachite, lapis lazuli, sapphire, amethyst, topaz and, most unusual of all, opal that was to become his trademark.In 1874, Schmidt invented a distinctive and challenging new technique of carving opal to create striking three-dimensional sculptures through its contrasting layers. To quote the late scholar Gertrud Seidmann, a connoisseur of Schmidt's work, to whom we are indebted for much of our knowledge of him:'Opal cameos, if rare, were not unknown (in the 19th century) but Schmidt had invented a novel technique: instead of carving the whole cameo from precious opal, he used blanks with a thin layer of precious opal overlaying the matrix, in the same way in which the contrasted layers of agates were traditionally used to set off the background.'In 1878, London jeweller John Brogden unveiled a necklace set with opal cameos - carved by Schmidt - at the Paris Exhibition. The necklace caused a sensation and was awarded a gold medal and high praise from the press. The Telegraph described it as a 'wonder of wonders'. However, only Brogden was credited and awarded the Cross of the... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

AN UNUSUAL GEORGE II MAHOGANY BOOKCASE OR CABINETCIRCA 1740, POSSIBLY IRISHThe dentil moulded breakfront cornice above a band carved with oak leaves and acorns, centred by a carved male bust, possibly depicting Jonathan Swift, the pair of astragal glazed doors flanked by stylised Ionic columns 210cm high, 125cm wide Provenance: Ex lot 40, Sothebys, London, 5th May 1989 Previously sold at Sothebys, London, Property from the collection of the late the Hon. Lady Benthall, Benthall Hall, 2nd December 1977Property from the Phillip Lucas Collection, Spitalfields HouseThe carved male bust to the 'keystone' terminal of the upper frieze of this bookcase or cabinet bears a strong resemblance to Jonathan Swift (1667-1745), the Anglo-Irish satirist and author of Gulliver's Travels and A Tale of a Tub. A similar bust of Swift was executed by Michael Rysbrack. Swift would have been an appropriate subject for an Irish bookcase of this date. Similar carved keystones with portrait busts can be seen above the doors at 10 Henrietta Street, Dublin. See Irish Furniture, The Knight of Glin & James Peill, Yale University Press, p.69 Fig 78.  

A RARE GEORGE III CARVED AND PAINTED PORTRAIT BUST OF THE SHIPBUILDER WILLIAM WOOD INSCRIBED TO REVERSE 'W WOOD, 1767, 43' On integral socle, carved and painted softwood- probably pine 65cm high, the base 24 by 20cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HousePlease note, the description should read as listed online and not as originally printed in the catalogue.William Wood (1725-1804) established shipyards and timber yards together with his brother John at Whitehaven, Harrington, Workington and Maryport in Cumberland. The Bath historian David Bridgwater has patiently unravelled and sorted through the Wood family history- particularly in relation to the family tradition of having busts carved of themselves. In his blog he relates how an article in the 2015 Georgian Group Journal (Vol XXIII pp.47-64) had suggested that a black painted wood bust in a private collection inscribed 'I WOOD 1767 aged 49' was possibly that of the Bath architect and planner John Wood the Elder. Bridgwater has proved rather that it was of the shipbuilder John Wood. Given that that the John bust is of comparable dimensions and stylistic form to this lot- it would seem probable the busts were carved at the same time- possibly by the same hand. The same article makes the suggestion that the sculptor "might have been a carver of objects such as ships' figureheads .. most of which by that time were made from softwoods, often pine". Given the identity and trade of the two subjects- such a suggestion is more than reasonable.John Wood had had portrait busts of himself carved before. In 2016 Northeast Auctions, Portsmouth, New Hampshire sold another carved elm bust inscribed "John Wood 1754 AGED 36 Y" now in a private collection. (Lot 1068, Summer Weekend Auction 20-21 August 2016). Additionally there are several known busts of John's son and grandson.Condition Report: For a full condition report on this lot- please contact us.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

RAIMONDO TRENTANOVE (ITALIAN, 1792-1832), A CARVED MARBLE PORTRAIT BUST OF A GENTLEMAN ROME, CIRCA 1823 Signed to reverse "R. Trentanove. Fece. Roma. 1823" 52cm high, 33cm wide Provenance: Christie's, The Hone Collection, 2016, Lot 130 (£2,000 hammer) Property from the Phillip Lucas Collection, Spitalfields House Condition Report: Surface with beginnings of weathering, browning and rubbing notably to end of noseWear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

THE VICTORIA AND ALBERT MUSEUM MARBLE DISPLAY PEDESTAL FOR HIRAM POWER'S 'EVE DISCONSOLATE' BUST PROBABLY ITALIAN, LATE 19TH CENTURY Inscribed "MARBLE BUS. EVE DISCONSOLATE. by HIRAM POWERS American sculptor (B.1805; d.1873). GIVEN BY MRS HELEN POTTER 127-1906", octagonal base also with acquisition number the column 30cm diameter, 116cm high overall, base 45cm wideHiram Power's "Eve Disconsolate" sculpture is recorded as being the gift of Mrs Helen Potter and recorded as being gifted to the museum in 1906 (ACCESSION NUMBER 127-1906). According to the V&A records the bust was a copy executed by Powers in the third quarter of the 19th century in Italy. This column was probably created at roughly the same time and formed part of the gift.Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The column with wear and loss from the surface- notably to top and sides - additionally the base edge which has chipped throughout above plinth Section of the top has old repair- the top itself with plugged centre, some old blue paint splashes Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

Ann Baxter, Boroughbridge, North Yorkshire: a carved stone sculpture of a rearing horse, signed and dated '75, 18cms high; and a carved slate horse bust, signed and dated '75, 20 x 13cms. (2)Notes: Award-winning artist Ann Baxter has led a fascinating and unconventional life, growing up on the family smallholding, hating school and leaving with no formal qualifications. She went on to attend Leeds College of Art on the strength of her portfolio and specialised in sculpture. In adulthood, she managed to recapture the joys of living on a small holding with her husband and son, and also bought two pure-bred Arabian fillies.

TWO BERLIN (KPM) BLANC DE CHINE FIGURES OF CHERUBS one playing a hurdy gurdy, 11cm high; the other painting a bust, 9.5cm high, each with underglaze blue sceptre mark Condition Report : both in very good condition Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

A LATE 19TH/EARLY 20TH CENTURY LARGE CAMEO PENDANT the cameo featuring a finely carved bust of a Greco-Roman lady raised above a yellow metal mount of Greek key design, length 5.5cm excluding the bale, width 5cm, weight 21g

An early 20th century carved marble bust of a young boy, unsigned, height 24cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Inkie (British b. 1969) & Will Barras (British b. 1973)Untitled Collaboration Spray paint on board, two piece244 x 242 cm (96 x 95.5 in)Inkie is a London based painter and street artist, originally from Clifton, Bristol. Inkie began working as part of Crime Incorporated Crew (CIC) or the Crime inc.crew in 1983, along with Felix and Joe Braun. He was the head of the many artists arrested in 1989 during "Operation Anderson", the UK's largest ever graffiti bust. He arranged 1998's Walls on Fire event with Banksy, on the site of the future At-Bristol centre. He has subsequently worked in the video game industry, including some time as head of creative design at Sega.Will Barras is an artist, illustrator and animation director living and working in London. He grew up in Birmingham and moved to Bristol to study graphic design. Will became one of a new crop of young artists working within Bristol's world renowned street art scene. This led to Will appearing in 'Scrawl' the book,  and alongside Steff Plaetz and Duncan Jago becoming a founding member of the Scrawl collective. 'Scrawl' originally published in 1999 was a seminal book documenting a new movement in street art, graphics and illustration. He was chosen as one of the original artists for the collective, noted for his representations of fluid movement, unique narrative driven composition and line work.

Inkie (British b. 1969)Ink Trooper Deluxe Edition, 20133 Fluoro screen print and black glitterSigned and numbered 13/25 in pencil to the bottom Accompanied with certificate of authenticityFramed and glazed59 x 40 cm (23 x 16 in)Inkie is a London based painter and street artist, originally from Clifton, Bristol. Inkie began working as part of Crime Incorporated Crew (CIC) or the Crime inc.crew in 1983, along with Felix and Joe Braun. He was the head of the many artists arrested in 1989 during "Operation Anderson", the UK's largest ever graffiti bust. He arranged 1998's Walls on Fire event with Banksy, on the site of the future At-Bristol centre. He has subsequently worked in the video game industry, including some time as head of creative design at Sega. 

Inkie (British b. 1969)Angel Dust, 2010Print on tintoretto paperSigned and numbered 1/1 in pencilOne off Temwa special58 x 43 cm (23 x 17 in)Inkie is a London based painter and street artist, originally from Clifton, Bristol. Inkie began working as part of Crime Incorporated Crew (CIC) or the Crime inc.crew in 1983, along with Felix and Joe Braun. He was the head of the many artists arrested in 1989 during "Operation Anderson", the UK's largest ever graffiti bust. He arranged 1998's Walls on Fire event with Banksy, on the site of the future At-Bristol centre. He has subsequently worked in the video game industry, including some time as head of creative design at Sega.

Inkie (British b.1969) Beauty Is In The Eye Of The Beholder, 2009 Limited edition print on tintoretto paper with 24 carat gold leaf Signed and numbered A/P 2/2 with blind stamp Framed and glazed 75 x 56 cm (29.5 x 22 in) Inkie is a London based painter and street artist, originally from Clifton, Bristol. Inkie began working as part of Crime Incorporated Crew (CIC)or the Crime inc.crew in 1983, along with Felix and Joe Braun. He was the head of the many artists arrested in 1989 during "Operation Anderson", the UK's largest ever graffiti bust. He arranged 1998's Walls on Fire event with Banksy, on the site of the future At-Bristol centre. He has subsequently worked in the video game industry, including some time as head of creative design at Sega.

An Art Deco style Lucite bust of a lady by David Fisher in frosted finish along with a long stemmed glass with air twist stem. H.54cm (largest)

A cream mink swing coat with taupe mink bands and a white rabbit fur jacket with tamoshanter (3)great, glossy and supple conditionmink has some hand stiching to the lining at the armhole seams with some faint marks in the same areamink measures 46 inch/ 116 cm, the coat is designed to be worn quite loose, so good on a mediumrabbit is a 38 inch/ 97 cm bust, best on small

A 1970s full length mink coat with hood and leather braid and mink tail tassel ties 40 inch/ 102 cm bust (s-m)(1)clean, glossy and supple conditionthe lining has a few loose stitches at the underarm

A vintage violet/silver mink jacket with embroidered lining 44 inch/ 112 cm bust (m-l) (1)good, strong, clean and supple, lining is good

A couture, pearl mink coat with swing back, lining with bands of velvet ribbon and concealed pocket 42 inch bust (aprox m) (1)good, clean, strong and supple condition

A vintage palomino mink jacket with damask lining 46 inch bust (L) (1)good, clean, strong and supple with some minor discolouration to the lining

A vintage silver/ sapphire mink jacket with label reading "Emba Violet, Natural blue grey mink, Royal quality" 43 inch/ 109 cm bust (m/l)  (1)good, strong and suppler condition. slight discolouration to the lining around the neck 

A vintage 1970s orange fox fur jacket, longer length, with gold satin lining by Sovereign furs with crown motif gold damask lining. 40 inch/ 102 cm bust (small/ small medium) (1)good, strong, clean and supple condition

Late 50s/ 60s fashions to include a plaid shift dress, an interesting black and white guipure lace dress by Flory of Miami, an olive green Russel Stuart dress with diamond pleated shelf bust, a 1940s wrap around apron or coverall, a navy blue shantung dress, a green skirt with blouse and a classic black cocktail dress with satin bow.(8)

50s/ 1960s evening and cocktail wear to include a mocha lace and shell pink satin dress with shelf bust by California, a blue and black lurex dress with swag back, an emerald-green satin dress with beading and others (6)

50s/60s fashions to include a black lace Balenciaga copy by Harrods, a shell pink silk shift with cream guipure lace overlay, a late 50s pink lace dress by Frank Usher, a navy blue guipure lace dress, a black velvet VictorJosselyn dress, a shantung maxi by Flory of Miami and a shelf bust shift (7)

1960s fashions to include a floral Blanes evening gown with empire line bust, a beaded turquoise evening gown, a silk Suzy Perette dress (a/f), a purple floral dress and another in black and gold (5)

1960s Ocelot Jacket with Cites certificate, made by Browns of Chester. This has two outer pockets, self lined collar, rear vent, lining with gold fleck floral occasional pattern. Closure by single furrier hook and eye, the buttons are for decoration only.  38 inch bust (s)(1)good condition, light wear

A 1960s leopard skin coat, full length with side vents, chocolate mink trim, two fur covered buttons, inner swing ties and a rear belt. 40 inch bust (s-m), with cites certificate (1)good condition, some wear around neck to edge of lapels and opening edge, few hand stitches to lining around the armholes and to swing tie plus a hole/ some fray to lining.

A vintage silver / violet mink coat, full length with an embroidered silver satin lining 40 inch/102 cm bust (s-m) (1)good, strong, clean and supple condition

1960s leopard skin jacket with suede trim and inner sleeves with a two button fastening at the front and crimson lining (with cites certificate) 42inch bust aprox (1)some wear, still strong and supple

1950s Ocelot coat with Cites certificate– 2 outer pockets, inner covert pocket, inner swing ties, self-lined collar, rear vent, rear half belt, inner cuffs are fur lined, bronze lining with embroidered cut work design. There is a single furrier hook to fasten, 42 inch (S-M) bust (1)Good condition, some wear by hook (photographed)

To be sold without reserve Property of Sir Christopher Ondaatje  19th Century alabaster bust of Dante Alighieri (1265-1321) Dimensions: 19 in. (H) x 20 in. (W) x 11 in. (D)

Property of a Distinguished Gentleman of Title Sir Jacob Epstein (1880-1959) Bust of Joseph Conrad Signed 'Epstein' (on the back) Bronze with a green and brown patina Conceived in 1924 This work is cast 5 from an edition of 6 Provenance:  William B. Leeds, Virgin Islands. Anonymous sale; Sotheby's, New York, 5 April 1967, lot 69. B. Gerald Cantor, Beverly Hills. Leona L. Palmer, Beverly Hills. Anonymous sale; Sotheby's, London, 11 December 2006, lot 30. Christie's London, November 21, 2019 [Lot 00281] Modern | British & Irish Art. Where acquired by the present owner.  Literature: A. Rutherston, Contemporary British Artists: Jacob Epstein, London, 1925, p. 6, pl. 35, another cast illustrated. E. Silber, The Sculpture of Epstein, Oxford, 1986, p. 156, no. 148, pl. 15, another cast illustrated. R. Cork, Jacob Epstein, London, 1999, p. 46, no. 38, another cast illustrated. Dimensions: 22.5 in. (W, excluding base.)

Property of Sir Christopher Ondaatje Chandrajeewa, Sarath (b. 1955) Portrait bust of Van Dr Bellanwila Wimalaratana Thero (1986) Bronze The bust of Sir Christopher by Chandrajeewa is held in the National Portrait Gallery, London. Dimensions: 51 cm (H., including base)

Rodin, Auguste (1840-1917) Bronze portrait bust of Victor Hugo Buste de Victor Hugo, dit 'à l'Illustre Maître' An early twentieth century bronze model of a bust of Victor Hugo entitled 'Bust to the illustrious Master' by Auguste Rodin (French, 1840-1917).  This bronze was produced using the lost wax process at the Montagutelli Foundry, Paris, circa 1912. Prior to casting is was signed in the wax 'A. Rodin'. It has a dark brown patina with golden undertones. Provenance: Estrada Collection, Buenos AiresExhibition:The Paris Salon of 1884.Palais des Beaux Arts, Brussels, 1930 (variant).'Rodin et le Ecrivains de son temps', Musee Rodin, Paris, 23 June-18 October,  1976 (variant).'Victor Hugo', Kunsthaus, Zurich, 4 June - 23 August 1987, cat. no. 70 (variant).'Rodin: 150th Anniversary of his Birth', Museum of art, Miyagi; Museum of Contemporary Art, Sapporo; Museum of Modern Art, Ibaragi; cat. no. S-45, 25 August - 9 December, 1990 (variant).'Auguste Rodin (1840-1917) Meishuguan, Beijing; Exhibition Center, Shanghai; Museum of Fine Art, Hong Kong; Fine Arts Museum, Tapei; 1993 (variant).'Rodin', Municipal Museum of Art, Reykavik, no. 61, 23 October - 12 December 1993 (variant).'Rodin et la Belgique', Palais des Beaux Arts, Charleroi, 7 September - 14 December, 1997.'Victor Hugo vu par Rodin', Musee des Beaux Arts et d'Archeologie, Besancon, no. 25, 4 October 2002 - 27 January 2003 (variant).'D'Ombre et de Marbre. Hugo face a Rodin', Maison de Victor Hugo, Paris, 17 October 2003 - 1 February 2004 (variant).'Rodin y la revolucion de la escultura. De Camille Claudel a Giacometti', Caixaforum, Barcelona, cat. no. 8, 29 October 2004 - 27 February 2005 (variant).‘Rodin et son Contemporains’, July 6th to September 9th 2017, McArthurGlen Provence, Miramas (this actual cast).‘Monumental Inspiration - Rodin and Beyond’, October 2nd to November 17th 2017, Sladmore Gallery, London, illustrated cat. no. 1 (this actual cast).Fiddian Green, Rodin and the Elgin Marbles - Classical Inspiration, April 25th to May 18th 2018, Sladmore Gallery, London (this actual cast).Dimensions: 23 in. (H) x 11. in (W) Literature: 'The Bronzes of Rodin. Catalogue of works in the Musée Rodin', by Antoinette Le Normand-Romain, Paris, 2007, page 432-433.'Rodin the Shape of Genius', by Ruth Butler, 1993, pages 172-178.'Rodin's Art. The Rodin Collection Iris and B. Gerald Cantor Center for Visual Arts Stanford University, Albert E. Elsen, with Rosalyn Frankel Jamison, 2003, pages 293 - 296.Dimensions: (With base) 23 in. (H) x 10 in. (W) (Without base) 17 in. (H) x 10 in. (W)

Bust on pedestal, plaster, female portrait - THIS LOT IS TO BE COLLECTED BY APPOINTMENT FROM DUGGLEBY STORAGE, GREAT HILL, EASTFIELD, SCARBOROUGH, YO11 3TX

A mixed lot of 20th century household items to include four engraved Georgian style rummers, a cream glazed wash bowl, tourist treen maracas and African bust, decanters, a Doulton Lambeth jug A/F, knife rests, ceramics and earthenware bowlsLocation: A1M

Coins - a Charles II (1660-1685) Crown, 1662, first bust, rose below, Fine, some evidence of cleaning; together with four other 20th century coins. (5)

A 17th century style silver hinged lidded tankard, maker's mark indistinct, possibly Dibdin & Co Ltd, decorated with impressed bust of William Shakespeare and Tudor rose on base, raised acanthus ornament around the waist, 3¼in. (8.25cm) high, weight 6.25 tr.oz.. * Maker's mark rubbed, otherwise good.

An Art Nouveau style bronze overlay bust of a maiden, late 20th century, unsigned, 12½in. (31.75cm.) high. Good condition overall. Sticker mark to patination to back of pedestal. No other faults.

Italian School (early 20th century), Still life of roses in a classical urn, a Roman bust, books, bronze bowl and artist's palette in a classical landscape, oil on canvas laid onto board, signed with initials 'MN', 32 ¾ x 32 ¾in. (83.2 x 83.2cm.), modern gilt frame.

A lovely 19th century bronze bust of a gentleman with fur trimmed jacket and laurel leaf crown, H. 27cm.

A rare and important enamelled armorial opaque twist cordial glass of Scottish interest, circa 1765Perhaps by Anthony Taylor, the round funnel bowl with a solid base, painted in white and red with the crest of Wilson of Fraserburgh, an arm in armour, embowed, the hand grasping a sword, above a ribbon wreath, inscribed 'VENTURE and GAINE.' around the rim, the double-series stem with a pair of heavy opaque white threads around a gauze corkscrew, over a conical foot, 16.4cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionThe crest on this remarkable glass is almost certainly that of the Wilson family formerly of Fraserburgh, near Aberdeen, who employed the motto 'Venture and Gain' and are known to have been merchants in the area since the late 17th century. Only three other cordial glasses from this set would appear to be recorded, including a pair offered by Sotheby's on 15 November 1994, lots 501 and 502 and again on 13 June 1995, lots 87 and 88. The third was sold by Christie's on 7 October 1996, lot 60. The style of enamelling belongs to a distinct group of enamelled glasses discussed by Simon Cottle, 'The Other Beilbys', Apollo (October 1986), pp.315-27. It is thought that some of these may have decorated in Scotland and could be the work of the Scottish enameller Anthony Taylor (1743-1803?), formerly of Newcastle-upon-Tyne and a contemporary of William Beilby. Several related crested glasses exist in which the enameller has employed a similar limited palette of white and red. This includes a set of wine glasses for Bannerman of Elsick inscribed 'Pro Patria', illustrated James Rush, The Ingenious Beilbys (1973), p.75 no.41, one of which was sold by Bonhams as part of the Peter Meyer Collection on 1 May 2013, lot 65.The Wilson and Bannerman families were connected by marriage. Charles Bannerman (1750-1813), the youngest brother of Sir Alexander Bannerman of Elsick, 6th Baronet, married Margaret Wilson (1761-1836) in Aberdeen in 1785. Her brother was George Wilson (1751-1816), a prominent barrister of Lincoln's Inn and leader of the Norfolk circuit, who is buried in the Bannerman family grave in St. Cuthbert's Churchyard, Edinburgh. Related by marriage to distinguished physician Dr George Fordyce, he was a close friend of Sir Samuel Bentham in the 1770s, and subsequently Sir Samuel Romilly. His father, Patrick Wilson, had been a collector of customs in Aberdeen who had spent some years living on St. Kitts in the West Indies and himself was a close friend of the Scottish poet, moralist and philosopher James Beattie. Both men were staunchly opposed to slavery and Wilson is mentioned in Beattie's Elements of Moral Science, Vol.2 (1793), p.63. It is highly plausible that this set of glasses was commissioned for either Patrick or his son George.The limited palette employed may also be associated with a set of Jacobite glasses painted with a portrait bust of Prince Charles Edward Stuart in red, white and blue, a set of glasses for The Beggar's Benison society in red, white and green, and several Masonic firing glasses in red and white. All are considered to be of Scottish origin and perhaps the work of Anthony Taylor, see Cottle (1986), pp.315-27.For further information on this lot please visit Bonhams.com

A South Staffordshire enamel patch box, circa 1793-95Of oval form, printed in black with a titled bust-length portrait of King Louis XVI of France, the base washed in bright blue, the hinged lid inset with a mirror, 5.6cm longFootnotes:The execution of King Louis XVI in January 1793 sent shockwaves across Europe. A contemporary patch box depicting the unfortunate king at the guillotine was sold by Bonhams on 1 December 2021, lot 379.For further information on this lot please visit Bonhams.com

A resin bust of a man Condition Report:Available upon request

A 19th century copper lustre jug, printed with Hope, together with a small carved marble dog seated on a cushion and a ware bust of William Shakespeare. Tallest 24 cm. CONDITION REPORT: The bust has visible cracks to both sides of the neck. There is a large 1 cm wide chip to the vase and a crack to the vase. The jug has cracks to the spout and a chip to the base of the handle. There are scuff marks to the marble dog.

British School (19th century), bust length portrait of the piano maker Thomas Broadwood, oil painting on canvas. 22 cm x 27 cm.