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Lot 270
A 9 Carat Gold Signet Ring, finger size M1/2; A Tapered Brooch, catch indistinctly marked, length 5.4cm; A 9 Carat Gold Dress Ring, finger size M1/2; A 15 Carat Gold Blue Topaz Ring, finger size K (approximately, sizing band present); together with A Quantity of Costume Jewellery, including beaded necklaces, brooches, bracelets, two wristwatches etcTwo rings and brooch - 5.4 grams. Blue topaz ring - 3.2 grams
Lot 299
A Circa 1980s Droopy and Browns Printed Dress and Modern Costume comprising a Monsoon blue evening dress, another in red silk crepe, a green and white floral sleeveless dress (allsize 10), Limited Edition khaki canvas long jacket with studded epaulettes (size 10), Next signature black crepe full length evening dress, Debut blue striped strapless evening dress (size 8), Coast pink/red cotton halter neck dress and a pink silk type panelled style skirt (both size 10), Principles black wrap dress, modern East bag, (11)
Lot 1327
Joseph Nash (1809-1878)Figure in 17th century dress on the staircase of a significant stately home (possibly Crewe Hall)Watercolour heightened with white, together with a further watercolour of a gentleman seated in an historic interior in the style of George Cattermole, 35cm by 24.5cm and 32cm by 22.5cm (latter unframed) respectively (2)
Lot 185
A late 19th-century French Bebe Jumeau French doll, with jointed limbs and wearing a white silk dress with peach ribbon and lining, having a later Ed Tasson Limoges bisque porcelain head, the face with sleeping blue eyes and open mouth with teeth, printed blue 'Bebe Jumeau' stamp to the body and incised Tasson mark to the head, 68 cm high.Losses and wear to the hands and feet. The limbs have been re-jointed and replacement hair applied
Lot 113
Exquisite large figurine of intricately decorated Thai dancers wearing culturally traditional dress finished in the Gres finish. Lladro backstamp. Artist: Vincente MartinezIssued: 1974-2019Dimensions: 11.75"L x 9.75"W x 21"HManufacturer: LladroCountry of Origin: SpainCondition: Age related wear.
Lot 153
Part of the EKJ Collection - Matte finished porcelain figural in tattered dress bouncing child on his knees. Limited edition 9356 of 12000. Flambro Imports backstamp. This item has a base included: 9"L x 5"W x 1.25"H. Issued: 20th centuryDimensions: 7"L x 3.75"W x 6.5"HEdition Number: 9356 of 12000 Manufacturer: FlambroCondition: Age related wear.
Lot 169
Hand painted, matte finished figural at fence speaking to a bird, wearing a matching head scarf to her dress. Goebel backstamp. M.I. Hummel impressed mark. 203. Issued: 1960 - 1972Dimensions: 3.25"L x 2.75"W x 4.5"HManufacturer: Goebel HummelCountry of Origin: GermanyCondition: Age related wear.
Lot 193
Brother and sister figural looking down at a frog. Dressed in traditional dress, colored in browns, sage, red and orange. Goebel backstamp. M.I. Hummel impressed mark. 394. This item has its original box: 10"L x 7"W x 6"H. Issued: 20th centuryDimensions: 4.5"L x 3.5"W x 7"HManufacturer: Goebel HummelCountry of Origin: GermanyCondition: Age related wear.
Lot 1
Jozef Israëls - Girl with basket seated on the shore - 1879 / Description: A girl seated on a dune on the right, with a basket on her back, wearing a cap and dress, bare feet, the beach and sea in the background. Etching with surface tone made by Jozef Israëls circa 1879 / Dimensions: 15,20 x 22,80 cm / Condition: Good impression with nice margins on a full sheet of laid paper measuring 29 x 42 cm. In very good condition. / Literature: Hubert / The Etched Works of Jozef Israëls. An Illustrated Catalogue. (19) ----- Jozef Israëls (1824-1911) was born into a Jewish family in Groningen. His parents wanted him to be a rabbi and Israëls had to struggle to realise his dream of becoming an artist. The influences of first Kruseman and then Picot directed him towards the Romantic tradition of history painting, but although he produced some work in this tradition (debuting at the Salon de Paris in 1855) he soon abandoned this style, in favor of the plein-air painting he had encountered at Barbizon in 1846 and 1853, and in Oosterbeek, the Dutch equivalent of Barbizon. From 1855, Israëls made frequent sketching trips to the little fishing village of Zandevoort. Fishermen became a favorite motif in his art, along with landscapes and scenes of peasant life. In 1871 he settled in The Hague, where he remained for the rest of his life. In his day Jozef Israëls enjoyed a huge success, both in Holland and in France. He remains one of the towering figures of the Hague School; the Dutch equivalent of Millet. Vincent van Gogh revered Israëls and Millet equally, often linking their names. In a letter of March 1884 he described them, along with Corot, Daubigny and Dupré, as “the great forerunners”. With Israëls’ etchings, we are suddenly surprised by a lightness of touch that is decidedly Impressionist in its aims and its techniques, with all the details simply indicated by quick fresh lines rather than laboriously delineated. Israëls became interested in etching in 1870, and produced in all 30 plates, which are described and illustrated in the catalogue raisonné by H. J. Hubert, The Etched Work of Jozef Israëls. Israëls treated his etchings rather like sketches, printing them in small numbers to give to friends. They were not usually formally editioned, Writing of the etchings of Israëls in L’Art in 1879, the critic Charles Tardieu describes them as a painter’s etchings, and deliberately links them to Impressionism by describing them as “esquisses et impressions”, sketches and impressions. The confidence and rapidity with which Israëls has sketched these scenes onto the etching plate gives a sense of intimacy and immediacy. There is also a real tenderness in his depiction of the bathing children and the resting fisherwoman. / Medium: Etching /Circa: 1879 200
Lot 104
Nuremberg Chronicle Frontispiece - God the Fathers enthroned - related Dürer drawing - 1490 / Description: The opening woodcut of Genesis. God said Let there Be and all things were made (Translation from the Latin text in the banderolle "Ipse dixit et facta sunt: ipse mandavit et creata sunt, Psalm 32". Impressive old colored woodcut from the first edition of Hartmann Schedel, "Liber Cronicarum", from 12 July 1493. The wood blocks were designed by Michael Wolgemut and his stepson Wilhelm Pleydenwurff and their assistants, including the young Albrecht Dürer, who was apprenticed to Wolgemut at the time. The printing was carried out under the supervision of the great scholar-printer Anton Koberger, who was Dürer's godfather. Wohlgemut was Albrecht Dürer's tutor between 1486-90. The young Dürer was working in the workshop in the years 1486-1489 when many of the early designs for the Chronicle were made and he was probably involved in a certain amount of them. Here God the Father sitting on a throne, wearing a head-dress resembling a papal tiara and holding an orb in his left hand, a scroll above and below an empty banderolle with on either side of which are two wild men holding shields with unidentified coat of arms, at the top a decorative border of entwined branches and naked figures. In the case of this 'God the Father Enthroned ', there is a related drawing in the British Museum attributed since 1885 to Wolgemut but Adrian Wilsons points out in his 'The making of the Nuremberg Chronicle - 1976' that the drawing in fact is to subtle in its delineation and shading and superior to any drawing attributed to Wolgemut and its rendering should be attributed to the young Dürer. His conclusion is that a basic intital design for the woodcut was made by Wolgemut but Dürer tried his hand at copying his master's work in 1490, the date on the drawing .So the interaction with Durer is evident but the woodcut probably followed the more rude earlier basic drawing and quite some of the finesse was also lost when carving the woodblock. (See Adrian Wilson - 1976, The making of the Nuremberg Chronicle, p.76). On the backside we have the Prologue in Latin with the Summary of the Work of the Six Days including a very nice hand painted initial in red and blue, following the text entirely lettered by Hartman nSchedel in his handwritten design page. Here we have a fine oldcoloured example of this impressive woodcut from the old colored luxury editions of the Cronicarum who were of the most expensive ones. / Dimensions: 37,50 x 24,00 cm / Condition: Excellent condition. Full untrimmed sheet. / Literature: Liber Chronicarum, here a first edition , printed by Anton Koberger in Nuremberg on 12 July 1493 in old coloring. The luxury editions in old coloring are mentioned in literature and were of the most expensive. --- Adrian Wilson - 1976: The making of the Nuremberg Chronicle. / Medium: Woodcut /Circa: 1493 900
Lot 4
Iain Macmillan (British, 1938-2006): Two prints of The Beatles on Abbey Road,1969,two original vintage chromogenic prints, the first depicting the Beatles walking from right to left (frame no.2), signed and numbered 13/25 by Iain Macmillan in silver metallic pen, together with a second print depicting the Abbey Road street sign with the girl in the blue dress as seen on the back of the album, signed and numbered 13/25 by Macmillan in silver metallic pen, framed and glazed, with a copy of the letter of provenance from Iain Macmillan, each sheet 20in x 24in (51cm x 61cm)each 28 1/4in x 29in (71.5cm x 73.5cm) framed(2)Footnotes:Provenance:Having met John Lennon at the Indica Gallery with Yoko Ono in 1966, Lennon later invited Macmillan to photograph the Beatles for the cover of their final album, Abbey Road. Given the Beatles recorded most of their music at the EMI Studios on Abbey Road, St John's Wood, London, they decided to name their last album after the road. Armed with a sketch Paul McCartney had given him a couple of days before of what the picture should look like, Iain knew he didn't have long to get the right shot for the world's most famous band.On 8th August 1969, at around 11:30 am, a hired policeman stopped the traffic, Iain climbed up a large stepladder in the middle of Abbey Road and took just six pictures of the Beatles on that now-famous street crossing. In approximately 10 minutes, Iain shot the band in various orders, but it was frame no.5 that was used for the cover of the album - the only photo where all four of them are striding in perfect formation.'The whole idea was McCartney's. A few days before the shoot, he drew a sketch of how he imagined the cover, which we executed almost exactly that day. I took a couple of shots of the Beatles crossing Abbey Road one way. We let some of the traffic go by and then they walked across the road the other way, and I took a few more shots. The one eventually chosen for the cover was number five of six. It was the only one that had their legs in a perfect 'V' formation, which is what I wanted stylistically.' - Iain Macmillan.After the shoot, Macmillan went to find a road sign for use on the back cover. Over 50 years on, the cover for Abbey Road is undoubtedly one of the most iconic album covers of all time.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 102
A 19th century French ormolu and porcelain mantel clock, the movement by Japy Freres, striking on a chime, the dial flanked by four ormolu capped Corinthian columns, in maroon and gilt decorated porcelain case, painted with cherub and lady in classical dress, signed Petit, 41cm wide, 31.5cm high
Lot 9393
An Armand Marseille, Germany, 390 bisque head doll with blonde wig, brown glass sleepy eyes with hand painted brows and lashes, open mouth showing four teeth, articulated composition body, 63cm tall, wearing traditional Danish folk dress and housed in original pine box from when the doll was sent a gift to the vendors family from Denmark..
Lot 9394
An early 20th Century Simon and Halbig for Kammer and Reinhart head girl doll with brown wig, striated blue glass sleepy eyes, painted features, open mouth showing four teeth, pierced eyes, head stamped K & R Simon and Halbig 76, on articulated wood and composition body, wearing straw hat, floral dress and white linen cape, 74cm tall
Lot 9399
An early 20th Century Simon and Halbig for Kammer and Reinhardt and bisque head girl doll with blonde wig, striated blue glass sleepy eyes, pierced ears, painted features, open mouth showing, three teeth, head stamped Halbig K&R 70, jointed composition body wearing white linen dress and bonnet, 68cm tall
Lot 9434
A mid 19th Century German Parian shoulder head doll with moulded blonde hair, striated blue glass eyes, painted facial features, stuffed cloth body with bisque forearms and forelegs painted with pink lustre laced boots, wearing a black velvet dress with white fur trim (53cm tall, repair to one arm and both legs), together with a small bisque shoulder head boy doll (2)
Lot 19
Sea green and blue knit sleeveless dress with round neck, zipper closure and back slit. Sea green trim accent on dress front. Matching three quarter length jacket with same trim. Three metal enameled button closure. Issued: 20th centuryManufacturer: St. JohnCountry of Origin: United StatesCondition: Age related wear.
Lot 21
Open weave in gold metallic, straight-line dress with scooped lined neckline, spaghetti straps and small side slits. Jacket is long sleeved with fabric trim and hook closure. Alberto Makali label. Issued: 20th centuryManufacturer: Alberto MakaliCountry of Origin: United StatesCondition: Age related wear.
Lot 29
Beautiful silk dress with delicate florals, baskets and leaf design throughout. Colored in aqua with blue, pink and gold. Pink embroidered button closures. Side zipper closure. Shoulder width 16". Length from neck 45". Lo Kai printed tag. Issued: 20th centuryManufacturer: Lo Kai Fook Silk StoreCountry of Origin: Hong KongCondition: Age related wear.
Lot 5044
JB JOHNSTONE Ltd, tailor Sackville Street. London top-quality bespoke-made gentleman's white-tie, full evening dress suit comprising tailcoat, trousers and white silk pique waistcoat made in 1958 to traditional pattern Fits 40" chest, 34" waist, inside leg 31" 3 pieces (Pink shirt not included.)Condition Report: Excellent condition with no moth damage
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228098 item(s)/page