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Click here to subscribeA modern 18ct white gold ruby and diamond dress ring, claw set with 2.7ct oval mixed-cut ruby flanked by baguette-cut diamonds, ruby weight calculated from dimensions: 9.95 x 8.05 x 4.02mm, size M, 3.7gRuby has been heavily treated, no damage, settings slightly worn mainly on back of shank where there is a join mark, stamped 18k
Autograph Letters, Publicity Stills and ephemera relating to film makeup SFX artist, Bill Partleton (1911-1975) includes a group of twelve letters, comprises: James Mason, Autograph Letter Signed, undated, single leaf written on both sides of the actor's headed notepaper; I look forward to seeing you & gossiping . . .; Frederic March, ALS, undated, single leaf written on both sides of his Firefly Farm headed paper . . No definite plans for the Fall, but it looks like theatre, I did a sequence for MGMs Its a Big Country last May . . .; British film producer, Edward Black, TLS, dated April 24, 1942, typed on one side of a single leaf. . . .We Dive at Dawn . . . I would like to thank you for the way you worked on location . . . I would also ask you not to discuss anything you saw up there, as the Admiralty hold myself and the Company responsible for complete secrecy . . . ; British actress Dame Maggie Smith, ALS, undated, written from her Eldon Road, London address on one side of a single leaf . . . The eyelashes are smashing!! . . .; British actress, Dora Bryan, ALS, undated, a single leaf written on both sides of Al Read headed paper from the Opera House Manchester . . . Billy dear, am doing a show up here for three months. Smash hit! . . . he has got through a pair of eyelashes a performance. Can you make him a pair? . . . its really burlesque so you can make them as long as mine . . Love + Happy Christmas Dora; with another ALS from Dora Bryan, undated, written from her 26, Lonsdale Road, S.W. 13 address on one side of a single leaf . . . 'Could I have a pair of theatre eyelashes as soon as pos. Send to the Garrick Theatre . . .; and six ALS from British actresses, Isobel Black with a signed black and white photograph; Avril Fane, dated 1959; Joanna Rigby (x2); and others; Bill Partleton created curled false eyelashes which actresses of the day would order from him direct and highly recommend to each other; together with a group of 40+ black and white publicity stills, c. 1930s-1960s, several images depicted Partleton applying makeup and prosthetics to actors such as Boris Karloff, a few stamped or with printed labels on versos, mostly 8 x 10 inches; a buff colour card folder titled Cleopatra Head-Dresses for Miss Taylor, contains twenty-six black and white photographs, each 7 x 9 inches pasted down on yellow sheets of paper, with head-dress and costume numbers captioned in ink beneath; together with a red cloth bound spring back folder with W.T. Partleton on front cover, containing a copy of Gaumont British House Magazine, volume 7, No. 1, January 1936 which featured an article on page 61 about the film production, Lady Jane Grey and introduced Bill Partleton as the new young expert; with a Certificate awarded to W.T. Partleton in recognition of Twenty-Five Years Service with J. Arthur Rank Productions, The Rank Organisation Limited, 11 ¼ x 15 ¼ inches, framed and glazed. (Qty)Provenance: The Collection of W.T. Partleton Bill (1911-1975) Makeup SFX artist who worked on many films throughout his long film career including, Doctor in the House (1954) The Prisoner (1955) A Night to Remember (1958) Carry on Spring (1964) Those Magnificent Men In Their Flying Machines (1965) Island of Terror (1966) Jane Eyre (1970) Kidnapped (1971) The Wicker man (1971) and numerous others.
A collection of four dress rings. To include two 9ct gold cluster rings, one set with cubic zirconia, the other set with garnet ( one stone missing), size L1/2 and M respectively, total gross weight 54gm, plus two diamond set 18ct and Plat stamped rings in a vintage ring box, one set with five graduated illusion set old European cut diamonds, the other three illusion set dimonds, size Q and O1/2 respectively, gross weight 5.8gm
A collection of gold and yellow metal jewellery, much as found. Comprising two 22ct gold rings, weight approximately 9.1gm , a 9ct gold diamond cut band ring, 2.8gm, a 15ct gold dress ring, missing two stones, 2.7gm, a collection of 9ct stamped jewellery, 10.3gm, a 9ct gold cameo ring with a cut shank, 3.5gm, an 18ct and plat stamped daisy ring, 1.8gm, a yellow metal seed pearl set ring, 4.0 gm plus a hinged 9ct metal core bangle
A Small Quantity of Jewellery, comprising of a 9 carat gold signet ring, finger size P1/2; a 9 carat gold dress ring, finger size O1/2; a 15 carat gold coral and split pearl ring (a.f.); a citrine brooch, measures 2.9cm by 2.4cm; and another brooch, length 3.6cmTwo 9 carat gold rings - 4.1 grams. Coral ring - 1.4 grams. Two brooches - 9.1 grams.
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
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)
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)
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
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.
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.
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.
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.
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
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
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
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
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..
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
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